Modern Drummer Issue 191

The World’s Most Widely Read Drum Magazine

October 05

ichie

ayward

MD’s Drum Festival
’95 Highlights

Fekgal Lawler

Of The Cranberries

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A DIFFERENT VIEW WITH AL Dl MEDIA
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Features

RICHIE HAYWARDI

Little Feat is back—with a new line-up, a new album, and a newly
invigorated Richie Hayward behind the kit. An up-close look at
one of our most esteemed practitioners.

• Robyn Flans and William F. Miller

38

HIGHLIGHTS OF
FESTVAL WEEKEND'95

Festival number eight: Steve Smith, Peter Erskine, Stephen
Perkins, Mike Portnoy, Gregg Bissonette, Kenwood Dennard,
Rayford Griffin, Alan White. What's that? Couldn't
make it? Lucky for you, our flash bulbs were
working overtime!

FERGAL LAWLER

The Cranberries' name might suggest pretty, polite pop, but
Fergal Lawler's drumming adds a burning passion
that boosts this very hot band to fiery heights.

• Ken Micallef

Volume 19, Number 10

Cover photo by Aldo Maura

Columns

EDUCATION

82 ROCK

PERSPECTIVES

Bruford's Ostinato
Challenge _

BY ROB LEYTHAM

86 ROCK 'N'

JAZZ CLINIC

The "3 Hands" Concept

BY JON BELCHER

88 DRUM SOLOIST

Paul Motian: "Israel"

TRANSCRIBED BY
STEVE KORN

90 STRICTLY
TECHNIQUE

Syncopation Accent
Exercises: Part 2

BY DAVE HAMMOND

82 IN THE STUDIO

The Drummer's
Studio Survival Guide:
Part 7, Multitrack
Recording _

BY MARK PARSONS

104 ELECTRONIC
INSIGHTS

Questions & Answers

BY BILLY MESSINETTI

126 HEAD TALK

The Twisted Torso

BY RON HEFNER

13d PERCUSSION
TODAY

Getting The Right Vibe:
Are Mallet Instruments
For You?

BY ED HARTMAN

NEWS

EQUIPMENT

24

NEW AND
NOTABLE

30

PRODUCT

CLOSE-UP

Gibraltar Hardware

BY RICK MATTINGLY

140 DRUMLINE

146

DRUM MARKET

Including

Vintage Showcase

152

DRUMKIT OF
THE MONTH

33

Specialty Bass
Drum Beaters

BY RICK VAN HORN

136

SHOP TALK

A Non-Slip Tip

BYJ.J. VAN OLDENMARK

PROFILES

102

FROM THE PAST

Arthur "Zutty" Singleton

110

UP & COMING

Horacio "El Negro"
Hernandez

BY KEN ROSS

122

A DIFFERENT
VIEW

A1 Di Meola _

BYTERI SACCONE

138

ON THE MOVE

MD GIVEAWAY

Win a unique custom snare drum from Magstar!

Editor ’s Overview

s

No doubt about it, this year's Drum Festival
Weekend clearly was one of the best ever.

(See page 58 for highlights.) Sold-out weeks
in advance, this year's event drew drummers
from as far away as Norway, Israel, and New
Zealand to see the show.

Festival '95 had something for just about
everyone. A remarkable display of precision
drumming by DCA drum corps quartet champions Hip
Pickles got things underway on Saturday. Recent poll win¬
ner Mike Portnoy kept things on a high level with an hour
of power playing and some valuable insight on odd time
signatures. The always amazing Kenwood Dennard was on
next with a unique clinic that utilized not only drumset, but
keyboards and vocals as well. Back for his second Festival
appearance, the inimitable Steve Smith left no doubt in any¬
one's mind why he holds a place on the MD Honor Roll for
Best All-Around Drummer. Last but not least was a tasteful,
well-balanced set from Peter Erskine and his trio. Peter's
musically intelligent, meticulous drumming style never fails
to inspire.

On Sunday, the infectious rhythms of the LP Latin
Percussion Ensemble served as our opener, followed by a
high-energy performance by Stephen Perkins on a kit that
included conga, bongos, and timpani. The ever-cool
Rayford Griffin then offered a superb clinic filled with the

15

solid funk grooves and super chops he's so well known for,
and Alan White's riveting performance was further
enhanced by an enlightening question & answer period.

And what better way to end a great weekend of drumming
than with Gregg Bissonette & the Mustard Seeds. An
incredibly proficient and versatile player, Gregg's energy
and enthusiasm permeated throughout the auditorium.

Along with all the great drumming, many attendees
walked out with a wide assortment of valuable door prizes
and got autographs from their favorite players. They also
saw Henry Adler and Carol Calato (accepting for her dad
Joe Calato of Regal Tip) presented with MD’s 1995
Editor's Achievement Awards.

Obviously, staging an event like this requires the full sup¬
port of a lot of people. My thanks go to everyone at Drum
Workshop, Evans, Latin Percussion, Ludwig, Mapex,

Paiste, Pearl, Pro-Mark, Sabian, Shure, Slingerland, Sonor,
Starclassic, Technics, Vic Firth, Yamaha, and Zildjian for
their kind support of Festival '95. Also, special thanks to
the MD staffers and volunteers who work the show through¬
out the weekend, and to Festival Coordinator Rick Van
Horn for another outstanding production. Finally, my
thanks to all the MD readers who came from near and far to
attend this year's show. We look forward to seeing all of
you again next year.

&

\tODenn

DRummeR

EDITOR/PUBLISHER

ASSOCIATE PUBLISHER

MANAGING EDITOR

FEATURES EDITOR

ASSOCIATE EDITOR

EDITORIAL ASSISTANT

ART DIRECTOR

ART ASSISTANT

ADMINISTRATIVE MANAGER

ADVERTISING DIRECTOR

ADVERTISING ASSISTANT

MARKETING AND
PUBLIC RELATIONS

RONALD SPAGNARDI
ISABEL SPAGNARDI
RICK VAN HORN
WILLIAM F. MILLER
ADAM J. BUDOFSKY
SUZANNE HURRING
SCOTT G. BIENSTOCK
LORI SPAGNARDI
TRACY A. KEARNS
BOB BERENSON
JOAN C. STICKEL
PATRICIA DONNELLY

OFFICE ASSISTANT DIANA LITTLE

The World's Most Widely Read Drum Magazine

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Chapin, Alan Dawson, Dennis DeLucia, Les DeMerle, Len
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Peart, Charlie Perry, John Santos, Ed Shaughnessy, Steve Smith,
Ed Thigpen, Dave Weckl.

CONTRIBUTING WRITERS: Robyn Hans, Burt Korall,
Rick Mattingly, Ken Micallef, Matt Peiken, Teri Saccone,

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MODERN drummer OCTOBER 1993

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Headers 7 P/atferm

DENNYFONGHEISER

I really enjoyed the article you did on
Denny Fongheiser in your July '95 issue.
It's great to read about someone who has
worked so hard to get where he is today.
Denny is a truly dedicated drummer, and I
believe that we will all be seeing and hear¬
ing more from him in the future.

Greg Pollard
San Leandro, CA

RESPONSE TO BOTTOMLEY

I feel that Ron Bottomley missed the point
in his criticism of the Burning For Buddy
CD in the July Readers' Platform. I agree
that it would be great to have some of the
more established big band drummers that
he mentioned playing on another album
with the BR band, and I would stand in line
to buy such a recording. But what made the
original BFB album great was not that so
many of the performing drummers were
"commercially viable," as Mr. Bottomley
asserts, but that they were showcased in a
musical context completely different from
the one they might normally be found in.

For instance, I gained tremendous
respect for Matt Sorum based on his per¬
formance. I still may not be a Guns N'
Roses fan, but I am now a fan of Sorum,
thanks to this album. Likewise my appreci¬
ation of virtually all of the drummers was
increased by this CD. Ironically, the drum¬
mer that I felt came off the weakest on the
recording was Neil Peart. (Sorry Neil, to
my ear it was good, but it just didn’t
swing.) But Kenny Aronoff, on the other
hand, was...well... burning. From listening
to him in his usual formats I would never
have imagined that he could kick a big
band like that. Pushing these drummers
into unfamiliar territory artistically was a
terrific idea, and I am eagerly awaiting
Burning For Buddy, Part 2.

David Clements
Dallas, TX

FESTIVAL WEEKEND'95

This is just a short note to thank you for
your support of my appearance at this
year's Modern Drummer Festival. I was
delighted to be able to play my music there
with the trio. And I am overwhelmed and
tremendously encouraged by the readers'
confidence as reflected by my win in the
Mainstream Jazz category of MD's
Readers Poll. Thanks to everyone!

Peter Erskine
Santa Monica, CA

The Modern Drummer Festival was one of
the best weekends of my life and I will
cherish it forever. It could not have come
together without a lot of hard work and
dedication by the MD staff. Thank you
from the bottom of my heart.

Stephen Perkins
Tarzana, CA

Festival '95 was truly magical! The audi¬
ence was phenomenal and just exemplifies
the magnificence of "our" brotherhood of
drummers. To be a part of the great line-up
of performers was an honor. And to experi¬
ence the enthusiasm, hospitality, and pro¬
fessionalism of the MD family was a plea¬
sure that all drummers should have the
opportunity to experience, as we did. A
heartfelt thanks for putting faith in us once
again.

Chet Doboe and Hip Pickles
Uniondale, NY

For the third consecutive year my son and I
attended your Festival. My son is an aspir¬
ing drummer, and during the Festival he
and I have a chance to spend forty-eight
uninterrupted hours devoted to what is, at
this time in his life, his one true love. I'm
able to watch his wide-eyed amazement at
the level of talent performing on stage. The
added bonuses—which I like to think are
mine alone—are the discussions we have
about what he saw and learned, and about
the aspirations that were born. I thank you
for this opportunity to share these experi¬
ences with my son.

A proud parent and fan
No address given

THANKS FROM SCOTT

Thank you very much for the Readers Poll
award [Up & Coming Drummer]. I was
surprised to hear that I won. It's quite an
honor! I have been reading Modern
Drummer for twenty of my thirty years. To
read about great players in your magazine
is always very inspiring, and has always
helped me to know that I was on the right
track. Thanks again to you and your read¬
ers!

Scott Mercado
Seattle, WA

GET DEFENSIVE

I'd like to comment on Ron Hefner's "Get
Defensive" article in your May '95 issue
concerning different methods of protecting
your drums against theft.

As a drummer for a regional band, I can
understand the risk and exposure we put
our drums through on a regular basis. But
as an insurance agent (my "real job"), I am
constantly amazed at how many drum¬
mers/musicians don't insure their equip¬
ment. Many make the mistake of thinking
they have coverage under their auto insur¬
ance if the equipment is stolen from their
vehicle. This is not the case. As Mr. Hefner
mentioned, some homeowners or renters
policies may (and I stress may) offer cover¬
age, but many exclude personal equipment
deemed for use in a "professional or busi¬
ness activity."

I recommend that all musicians call their
insurance agent to ask about all-risk cover¬
age for professional use. Such coverage
can usually be obtained for what you'd
earn in a couple of gigs. It's certainly
worth the effort to protect your investment.

Gerald Hemphill
Richmond, VA

WOGEftN CRUtoUES ftCTORf li- i W5

NOW ROBIN HITS BULLSEYE!

MEIEML

^Hlr-CvrrdnBtli nnys ,'tiftrfr,
bti/wfi iiJ ixirrr fiv^T .T-rJMr ;tcair r *

Rurkin DiAiaggb f 24 f Ims created a sfectmukr name for himself ranging from
studio work mid touring so dirties mid drum fesnVah. At the age of 17 ho kicked of
Itk career playing with Tracy Chapman. Since die ft he has worked with the tikes
of Paul McCartney, New Kids on the Block, Karen White, Chante More, Ef
Dcbarge. Tony Braxton and Sexual Chocolate t hanks so t f years of
Joe Pore tiro 's master teaching, today Robin is known for his street
grooves mid simplicity On playing the kit. which you can hear on most
of today $ biggest Rap 1 productions. Were confident his career will
continue taking him a long wav. After all, bang where he is and doing
vrlm he does, is proof he's doing something right. One thing k rite sound
of his cymbals: Meinl Raker - she feel is there

Meitil Cymbals - its the son tut that counts!

m/MEIIML

FEW PEOPLE ATTAIN the level of genius

that Dennis Chambers reaches every time
lie sits down to play, And tike so many other
greats, to get his unbelievable ideas across,
Dennis uses K, Zildjians.

K.'s otter him sounds as
original and complex ns
the killer grooves he lays
down, and their qualities are
legendary. In fact, each one
its awn sound and character, the result of the

perfect marriage of old world craftsmanship

and modern manufacturing techniques.

That said, you could try end cop Dennis'

licks, hut it
might be easier
to take his tips:

C - W K Dark Crflsfi ITiin Brllh-Uni
D-UT15 Splatfl
E — S2T K tuftum Medium Rtfe
F- \y A fijui ck Beat HiHau
G 17' AGasram Crash
H -If Oncn-tal China Train

Try K. r s in your
set-up, pillows as
practice pads, and

don't despnir. The perfect groove is out there,
it just might take a while to find it.

Update

Chris Gorman

Chris Gorman, drummer of Belly, is both tired and wired. "Two
more dates left on this tour...and I can't wait to get home," he
declares. Since their 1993 smash hit single "Feed The Tree" and
subsequent Grammy nominations, Belly has been on the road
non-stop. With the release of their second album, King, Gorman is
not likely to get a respite any time soon. Tour plans include a visit
to Japan, an opening spot on R.E.M's European tour, and one
more spin around the United States by the year's end.

Produced by rock legend Glyn Johns [the Who, Led Zeppelin,
the Band], King superimposes ambiguous lyrics over bright pop
tunes and fuzzy guitars over aberrant rhythms. "Johns flew in
from England to meet us and basically said, 'I am going to pro¬
duce your record,"' Gorman laughs. How did Chris feel going
into the studio with a man who worked with Keith Moon, John
Bonham, and Levon Helm? "It was great. In fact the rest of the
band teased me about being Glyn's favorite, because he and [engi¬
neer] Jack Puig spent so much time perfecting the drum sound."

Johns and Puig combined primitive methods with state-of-the-
art equipment to achieve an organic, live sound in the Bahamas
studio where King was recorded. Johns used two overhead mic's
for the drums, a simple recording technique he pioneered, while

Dawn Richardson

The joke around Dawn Richardson's San Francisco home is that
she will never have to play the song "What's Up" ever again. You
know the song, you've probably heard it a million times. It was by
a band known as 4 Non Blondes, whose debut album, Bigger,
Better, Faster, More!, sold something in the ball park of four and
a half million copies. The same band who called it quits just min¬
utes before entering the studio to record their second album.

Since the demise of the Blondes, however, Dawn has not been
standing still. In fact, even before the band broke up she was on
her way to starting her own label under the guise of promoting the
San Francisco music scene. The label, Slot Records, released their
first album from a local band by the name of Spanking Violets last
summer. That band—who sport a pretty jim-dandy drummer by
the name of Kevin Allen—has built a following beyond the Bay
Area through the strength of the album and their western United
States tour earlier this year.

The second release from Slot is a band that Dawn had her hand
in forming, playing in, producing, and releasing. Trinket, which
also includes Joe Gore on guitars, Christa Hillhouse on bass, and
the mysterious Nora Flora on vocals, released their first seven-
inch single at the end of April. They have been described as an
anti-band, meaning that the vocals are approached as an instru¬
ment rather than up front in the mix, the drummer is at the front of
the stage, and they blend the best of industrial, rock, and dance
music. To get that big industrial sound, Dawn says she didn't

Puig placed vintage mic's in huge metal cans and bottles near the
bass drum and strung other mic's all over the studio to pick up
Gorman's nuances.

Rhythmic variation is part of what separates Belly from the rest
of the alterna-rock pack. Time signatures shift back and forth
within songs, and few songs are based on a 4/4 beat. While he
acknowledges that this keeps Belly's music creative and fun,
Gorman shrugs off his talent at dealing with the beats. "I just
come up with stuff to match the weird guitar parts. It's nothing
jazz drummers haven't been doing for years."

As a photographer and graphic artist, German's creativity
extends beyond drums and into designs for Belly's album covers
and T-shirts. He also directed the video for "Super-Connected,"
which was banned by MTV Europe for being too gory. A former
production assistant for the television drama Law & Order,
Gorman knew how to make his concept of the way record compa¬
nies "create" stars come to life on video: in "Super-Connected,"
the band turns singer Tanya Donelly into a Frankenstein-like rock
monster.

• Meredith Ochs

record her drum tracks with a million and one different effects,
but live in an honest to goodness local Catholic church.

And, as if the player/producer/record mogul role wasn't
enough, Dawn's been playing around with local favorite Angel
Corpus Christi, who have also just released a new album by the
name of White Courtesy Telephone on Almo/Geffen. In addition
to playing gigs all over the San Francisco Bay Area, they are also
eyeing a tour through Europe to support the new album.

So, while she might not be playin' "What's Up," it sure seems
as if it's Dawn Richardson herself who is up.

• David John Farinella

MODERN DRUMMTR OCTQSEtt 1*95

BobGullotti

It's been over twenty years since Bob
Gullotti helped form bop/free-jazz trio the
Fringe. He and partners saxophonist
George Garzone and bassist John
Lockwood have become a fixture on the
Boston music scene. "The Fringe is still
my primary gig," Bob says. "This year
we'll be doing another record for the
Italianjazz label Soulnote. We'll also be
touring some new places like Israel, as well
as France, Italy, and Canada. It'll be a
good year for us."

Aside from the Fringe, Bob keeps busy
working with such well-known jazz artists
as saxophonist Jerry Bergonzi and pianist
Joey Calderazzo. "I'm playing with master
trombonist Hal Crook," he adds. "He left

Tony McCarroll

Oasis was the big story on the charts and in
the press in Britain in 1994. The
Manchester, England-based quartet had
three Top-10 singles and unfettered critical
acclaim. In recent months their debut
album, Definitely Maybe, has begun to
have widespread success in the States.
With their fiery brand of cocky, hard-edged
rock it looks like Oasis will be just as pop¬
ular with American audiences as they are
with their British counterparts.

Drummer Tony McCarroll sums up the
Oasis success story: "We're just taking
over the whole show in Britain and Europe
at the moment. The songwriting and the

Phil Woods' band and moved back to
Boston. We have a steady thing. I'm also
going to record with some rock cats. It will
be two guys from the Lounge Lizards,
some guys from Phish, and organist John
Medeski. I met them playing with trum¬
peter Michael Ray. He's from Sun Ra's
band and was also the bandleader for Kool
& the Gang. That looks like fun."

Despite his busy playing schedule,
Gullotti finds time to teach privately and at
some of the area colleges. At the 1994 PAS
convention in Atlanta, Bob gave a well-
attended master class on his unique
approach to drum soloing in a jazz context.
"When they come to work with me, most
of my students say they can't solo. To deal

musicianship set us apart, and will also
keep us around for a long time."

The rags-to-riches rise of Oasis has been
fast and furious. Formed just three years
ago in England's industrial north, the group
began as a rehearsal band for its four mem¬
bers. "I hadn't played in any other bands as
I was growing up," explains McCarroll. "I
was offered gigs with cabaret outfits and
local kinds of things, but that scene didn't
appeal to me. I got stuck with these guys
[Oasis] in a rehearsal room, and we just
became determined that we would make it.

"The way things have turned out seems
unreal," Tony admits. "Even the way we

with that, I've come up with a method that
deals with transcriptions of saxophone
parts. I've been doing a lot with the
Charlie Parker Omnibook, available from
Jamey Aebersold. What you get out of it is
a sense of development of line-learning
and language. This approach really helps
the student get a sense for melody and
playing within the song form.

"I got quite a few gigs from doing the
PAS show," Bob explains. "I'll be doing
some more college clinics now. It was a
good thing for me to do. I've been doing
some clinics for Zildjian and Fames drums,
and I've been doing a series of things at
Drummer's Collective in New York."

• Michael Bettine

got signed sounds weird: We had gotten a
gig in Glasgow to support this band with
whom we shared a rehearsal room. We
hired a van, got the gear up there, and then
were told by the promoter right before the
gig that we couldn't play. We said, 'We're
playing tonight. We've driven all this way,
we've spent all this money, we're playing,
and that's it!' He agreed to let us do three
songs. Lucky for us, the president of
Creation Records was there and offered us
a deal on the spot. We knew then that this
was meant to be."

• Teri Saccone

News...

Rod Morgenstein recorded a
joint project with keyboardist
Jordan Rudes.

Vinny Appice is preparing
for the next Dio album while
also doing some clinics with
brother Carmine.

Greg Wells, who plays
drums for k.d. lang, has a solo
record out on IRS Records
called Silas Loder.

Phil Varone is currently

touring with Saigon Kick, and
he also recently produced an
album for Naked Rhythm.

Joe Travers on Music For
Pets by Z, Ahmet and Dweezil
Zappa's group.

Tony Braunagel is on new
recordings by Taj Mahal and
Japanese artist Nakajima. Tony
can be seen regularly in L.A. as
the house drummer for the
House of Blues and B.B.

King's.

Daniel Reyes is on a world
tour playing percussion for
Yanni.

Pete Thomas is on the new
Tasmin Archer album, as well
as Elvis Costello's Kojak
Variety (along with Jim
Keltner) and an upcoming
Attractions release.

Ted Moore and his new
group, Brasilia, recently

released their new disc, River
Wide, on Herbie Mann's
Kokopelli label.

Phil Ehart is on the road
with Kansas in support of the
band's recent Inter sound
release, Freaks Of Nature.

Our hopes and support for a
speedy recovery to Robert
Aguilar, who suffered a heart
attack last spring.

fj

MODERN HRIJm.MER: CCTGa Ek ' Wi

"These drums axe absolutely startling'.'..

...Simon Phillips

As one

of the original
members of the
Slardassic design
group. Simon Phillips is
one of the most important
reasons why St&rdassic dtmms
are 'absolutely startling," Simon's
exacting approach to drum sound
made his cDntribulions to the develop¬
ment of Starclassic immeasurable,

The big, big difference about these
drums is that they all have die-cast hoops,"
remarks Simon. ,s Die-caSt hoops do seem a
linle harder 1 ...and I think tftal is something one
has to get used lo. but tuning precision and
tuning longevity are belter because die^casl hoops
don'l warp or bend like triple flanged hoops.'

The strength of die-cast hoops makes another
Eland* GUI Star classic feature possible: the Star-Cast
Mourning System . Star Cast is simply easier...easier
to set-up, easier to change heads and easier to pack
up al the end of the night. Says Simon ■ It's a very seri¬
ous, very elegant system of suspending the drum You
just unscrew these three rubber things, and the drum
comes away Sn your hand"

Die-casE hoops and the Star-cast Mounting System
are just iwo of the many features that make Starclassic
"The ultimate drum," But there's more. A ulsii lo your
Slardassic Dealer wiU help you undersold how
much more.

Perhaps Simon says it alL./I played 38 shows in
Europe and Japan where everybody just freaked oui
about these drums...they lo*ed the sound of them.
How you'd have a pretty tough time taking them
away from me"

BACK TO THE BASICS

A Dms-wn of TAMA Druuis

.

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4 j J lit 1 Jy i \ s In .

>t(ir<*IasKK

Sound Strnnjit]]

Die-cjbt (left) are somewhat more eKpenstve ihan I he liiple

Nang&d hoops (right) frnnad on most pro dn ms. hot they oitc?r hHter
consistency,, strength and attdtk The n^or..mi highs d - die-cast hoops
work beatilMy with the warm lows □! Starclassi?s super-thin shcFI-s
for ifiGomparabFe dvnrimic range and lone,

The Star Cdbl Mounting System* all*>w.i
unrestrained shell resonance and total torn
isolation Unlike other systems each bracket
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hoop tension is ensured. Remove just three
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H lhe drum Curries drway in ypur heind."

*Ih* SUl i'jrA J Au, ami; ^ c m k 11!■ :11'I

Ask A Pro

David Garibaldi

What setup did you use when play-
ing with Tower of Power during
1974-1975 (drums, cymbals, heads, etc.)?
I've been a Tower fan for many years, and
the albums recorded during this period
{Urban Renewal, Back To Oakland, and In
The Slot) are my favorites. I also enjoy lis¬
tening to Gino Vanelli's music and your
playing on his albums. Thanks for the great
work.

Steve Murphy
Mount Pearl, Newfoundland, Canada

^0^ The period of time you're referring
to was actually 1972 through '75.
The drums used on Back To Oakland and
the one cut I played on Urban Renewal
were 1964-vintage Slingerland drums with
their satin flame finish. This was my first
drumset, which had been purchased for me
by my parents when I was a senior in high
school. The hardware was a combination of
Slingerland and Ludwig; the bass drum
pedal was either a Ludwig Speed King or a
Cameo chain-drive pedal from Frank
Ippolito's drum shop in New York City.
The cymbals were Zildjians; the heads on
all the drums were Remo Ambassadors top
and bottom.

On In The Slot I used Sonor drums and
hardware with a Caroline bass drum pedal.
The cymbals were a combination of
Zildjians and Paistes; the heads were a
combination of Remo and Evans. Also in
this mix of drums were a couple of Ludwig
snares: a 5x14 chrome and a 6 1/2x14
chrome Super Sensitive. I still use the 5x14
occasionally. I also used two different ride
cymbals on these recordings: From 1970 to

1974 I used a 22" Zildjian ride stamped
"medium" but really on the heavy side; in

1975 I switched to a 20" Zildjian medium
ride. I play different equipment today—
Yamaha drums and Sabian cymbals—but
all of the equipment I mentioned is still
with me. Even though I probably will
never use most of it ever again I could
never get rid of it—because of the great
musical memories I associate with it.

can't tell you how much I enjoy
watching you thrash away with such
glee every weeknight on Late Night With
Conan OBrien. You play the drums with
the unbridled joy of a little kid, and I'm
instantly reminded of why I started playing
drums in the first place: Gosh darn it,
drums are fun!

A few years ago, I remember hearing
about the tendonitis problems you were
experiencing while doing the Springsteen
gig. By watching you play now, it seems as
though you've overcome those problems.
As someone who has recently begun to
experience some tendinitis myself, I'm
curious as to what advice you could give
on curing—or at least controlling—this
problem.

David Ingraham
Reseda, CA

Thanks very much for your letter. I
appreciate your comments and I'm
thrilled that you're enjoying the show.
You're right; I'm having the time of my
life! It is fun to play the drums.

I did have a fairly severe problem with
tendinitis. With the help of the kind folks at
the Miller Institute of Performing Arts
Medicine in New York City, surgery cor¬
rected my condition. But that was a drastic
solution. What I would recommend if you
are experiencing hand pain is to make sure
that you do several things. First, always
warm up, preferably on a practice pad,
before you play. You're an athlete, and you
have to warm up the muscles you'll be
using when you play. The warmer and
looser the muscles are, the less you'll feel
the need to grip the sticks. Gripping sticks
tightly is what will get you into trouble.

With that in mind, be conscious of your
grip with both sticks while you're playing.
If you're experiencing pain in either thumb
or any of your fingers it means that you're
bearing down too strongly with those dig¬
its. Relax your grip! Keep it loose and
swinging and you'll avoid any kind of hand
problems.

Jim Keltner

I'd like to start by saying how
much I enjoy listening to Eric
Clapton's From The Cradle CD. Your
drumming has an excellent feel. I also
enjoy how you play for the song and not
for other drummers. Everything you play
makes sense with everything else going on
in the song—which brings me to my ques¬
tions.

I've played in several blues bands, and
shuffles are my favorite grooves to play.
I'd like to leam as much as possible about
the different types of shuffles (Chicago,
Texas, and so on) and their different feels.
I've heard drummers mention that they
know a dozen or so ways to shuffle—but
they don't describe what is what. Could
you shed some light on this topic?

Angelo Merendino
No address given

Thanks so much for your letter. I
must tell you that I also have
always heard about various shuffles—
Texas, Chicago, etc.—but I've never felt
real clear as to what the actual differences
are. My personal goal has always been to
try to get as close as possible to the shuffle
feel that I hear the original blues drummers
play—no matter where it comes from.

I think we should ask Modern Drummer
to do an article focusing on drummers who
feel strongly about this subject. Like most
things that appear to be dead simple, the
blues is very deep. There is a lot to explore.

Editor's note: Are there really such things
as regional shuffle feels? If so, what makes
them different from each other? Or is the
whole concept more musical myth than
reality? Taking Jim's suggestion, we'd like
to hear from drummers with comments on
the subject. Send your comments by mail
(Shuffles, Modern Drummer Publications,
12 Old Bridge Road, Cedar Grove, NJ
07009), fax ([201] 239-7139), or e-mail
(moddrummer® aol. com).

MODERN DRUMMf R OCTOBER I Wi

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// V Questionable

Warped Cymbals

Recently my cymbal bag slid off a
case and dropped about a foot
down in the back of my truck—with a loud
"thump." While looking for any damage to
my cymbals, I laid them on a table to make
sure they were flat. I noticed that my top
hi-hat cymbal (a K Zildjian) was a little bit
warped. Now, I don't know if the cymbal
was damaged by the fall or was made this
way. Can you give me any guidance?

Martin Brewer
via Internet

The fall your cymbals took is not
likely to have caused any given
cymbal to warp. (Falls on an edge more
frequently cause chipping or cracking.) A
warped cymbal generally was either made
that way, or became warped as a result of
use. Top hi-hat cymbals are especially
prone to this, since they not only have to
endure stick impact, but also foot pressure.
The thinner the cymbal, the more likely
warpage is to occur. However, unless your
hi-hats no longer function properly or
sound bad, there's no reason to worry
about a slightly warped top hi-hat cymbal.

Overhead Miking Problems

I read Mark Parsons' article about
how to record drums in your
August '94 issue, and there were many
excellent tips. But I'm still having trouble
with the overheads, because they seem to
affect the sound of the other mic's. The
result is that the drums sound good when
all the mic's except the overheads are on,
but they sound totally weird with the over¬
heads on (though the cymbals sound
acceptable). Is it a matter of mic' place¬
ment? Or maybe I have to equalize the
overheads? How do I solve this problem?
For your information, I use Shure SM57s
on the snare and toms, SM81s on the hi-hat
and overheads, and an SM7 on the bass
drum.

Arifandi
Bandung, Indonesia

Studio ace Mark Parsons replies:
"You've made a logical choice of
mic's for individual applications on your
kit, so unless both of your overhead mic's
are defective (which is highly unlikely) you
can pretty much eliminate them as being
part of the problem. The same goes for
your drums and cymbals themselves. If you
like the way they sound acoustically, you
should be able to get a pleasing sound on
tape. The answer most likely lies in two of
the things you mentioned yourself: mic'
placement and EQ.

"The big concern with the placement of
overheads (besides the obvious need to
hang the mic's in a position over the kit
where they can pick up the cymbals) is
phase cancellation. This occurs when two
or more mic's pick up the same sound at
slightly different times, due to their differ¬
ent distances from the sound source. This
results in the cancellation or attenuation of
certain frequencies (also known as comb
filtering) and can indeed sound 'totally
weird.'

"There are a few ways to avoid this
problem. Perhaps the simplest (while still
maintaining a stereo perspective) is to use
the coincident pair ('X/Y') method: Place
the mic's together over the drums so that
they form an angle (from 75° to 135°) with
the ends of the capsules almost touching.
This puts the diaphragms in the same loca¬
tion so that they'll pick up sounds at the
same time—avoiding delays and subse¬
quent phase shifts. Another method is to
spread out the overheads, making sure you
follow the 'three-to-one rule' (which rec¬
ommends keeping the secondary mic' at
least three times as far from the sound
source as the primary mic'). Using this
guideline you could suspend one mic' 12"
above a ride cymbal to your right, and
another mic' 12" above a crash cymbal to
your left—as long as each mic' was at least
three feet from the opposite cymbal. A
third method is simply to use only one
overhead mic'.

"Here's a quick test for phase problems:
Sum the overheads to mono. On the mixer,
bring up one of the overheads and listen.
Then, leaving the first overhead up, bring
up the second overhead fader. If cancella¬

tion is occurring, instead of getting louder
and fuller, the signal will sound thin and
hollow with the addition of the second mic'
to the mix. From a practical standpoint the
cure is to move one of the mic's slightly
while monitoring the results, listening for
that location where things sound 'normal'
again.

"Once the mic's are placed correctly, it's
time to move on to equalization, which can
make a huge difference in the recorded
sound of your drums. In your case the
overheads are primarily for cymbal repro¬
duction rather than for the whole kit (since
you've got mic's on individual drums and
you stated that they sounded good prior to
the addition of the overheads), so we can
focus on cymbal sound and try to eliminate
other unpleasant tones. Using an equalizer
with a "sweepable" midrange, set the gain
for maximum boost and sweep the band¬
width until the undesirable overtones
noticeably increase —then cut that particu¬
lar frequency until things sound smooth.
Also consider using a high-pass filter or
EQ to roll off the low end (below 80 Hz or
so) to eliminate any unnecessary rumble. If
your cymbals still need some sparkle, you
can boost the frequencies above 8 kHz, but
don't overdo it.

"You should also take note of the rela¬
tive level of the overheads versus that of
the other mic's. Cymbals tend to cut
through the mix rather easily due to their
frequency content. If the signal from the
overheads is reading as hot on the meters
as the signal from a closely miked tom (for
example), you've probably got too much.
Experiment with reducing the level until it
adds sparkle and 'air' to the sound, but
doesn't significantly increase the gain of
the overall mix.

"I hope this solves your problem. Best of
luck with your recording!"

Rogers Drums Or Not?

I recently bought a vintage-look¬
ing Rogers kit—at least that's
what it says on the bass drum head (R-
380). But there is neither a large "R" nor a
script "Rogers" on the kit, and the casings
on the bass drum and toms are neither the

vintage "Bread & Butter" nor the famous
"Beavertail" models. They are more of a
Ludwig-type design, with three grooves in
the back—but these lugs are more straight
and narrow. On the other hand, the casings
and snare throw-off on the snare drum are
identical to Rogers Dyna-Sonic versions
I've seen. All of the shells are of cross-
laminated wood with no reinforcement
hoops and no grey-speckled interior finish.
The finish is blue ripple.

I was told by the A1 Drew Music
Company that these were Rogers drums
made in Japan for about two years. They
weren't a hot seller, but I'm still proud of
them and will cherish them for years to
come. But is there any place I can obtain
additional lug casings for an add-on drum?
And can you give me any additional back¬
ground on these drums?

Tom McManus

Hicksville, NY

Our drum historian, Harry
Cangany, provided the following
information: "In the early 1980s the man¬
agement of Rogers approached the Yamaha
company to have two entry-level sets
made. The R-360 was a five-piece set in
black or white that looked exactly like
thousands of other generic import kits. The
R-380 was a higher-priced, heavier-duty
model in black, white, or wood grain. (At
about the same time Rogers offered an R-
340 kit, which was a Remo PTS outfit.)

"Both kits featured 8x12 and 9x13 rack
toms, a 16x16 floor tom, a 14x22 bass
drum, and a ten-lug metal snare. The R-360
used a simple strainer on the snare; the
R-380 had a parallel-action strainer. The
wooden shells were all made of nine plies
of mahogany. The Rogers logos were on
stickers applied to pedals, stands, and snare
drums.

"Whether these products would ultimate¬

ly have succeeded is open for speculation.
The Rogers company as an entity was on
its 'last legs,' and the whole operation shut
down in the '80s not long after the R Series
products were introduced.

"It sounds like you have a 'real' Rogers
snare with your R-380 set, since its
description doesn't match that of an R-380
snare drum. As far as additional lugs for
the toms go, I suggest that you use a photo¬
copy machine to take top and side images
of a lug. Send copies to major dmm retail¬
ers who specialize in parts. (See ads in
MD's classified section.) Make sure you
discuss the lug nuts. Do they have springs?
Are they metric? My guess is that you have
a springless system similar to 1980s
Yamahas. Don't give up; they do exist."

A 13" K/Z HiHatS
B io K Splash

C 17" K Dark Crash Medium Thin Brilliant
D 20" A Custom Ride with 3 Rivets

E 20" K Custom Medium Ride
F 18" K Dark Crash Medium Thin
G 22" A Custom Swish

MODERN DRUMMER OCTOBER 1995

Some things just feel right

Like your favorite pair of boots.
RelaxedComfortable. Familiar,
they become a part of you.
You get the same feeling from a pair of Vic Firth sticks.
The tip shape, shoulder length and overall dimensions
of each model provide optimal balance, response
and feel, They become a natural
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can concentrate on the important
things, like sounding great.

vie

nrnr

/

Vic Firth tnc.

65 Commerce Wav
Dedham. MA 02026 U-S.A,

Send for froc ccitalog.
and ncWfilrttcT

Why hope to get a good set of drums?

When you can be guaranteed a work of Art!

PJ.L Percussion is proud lo introduce two distinct sound ronrepts that will serve the needs of any drummer.,
the "Classics'' and the "Contemporary" series. The “Classics' series features a 5 ply maple shell with a 3 ply Tcinfortmem
ring on toms and a 6 ply shell with a 3 ply remforement ring on hass drums, to produce that full bodied classic sound.
The Ton temporary" series features 8 ply shells on all drums, yielding a strong fundamental note supported by the
excellent resonance of maple, But the key to the truly distinct sound of PJ.L. Percussion Drums is our unique
solid brass lug. Our solid brass lugs are secured directly to the shell, collectively
creating an Instrument that resonates as one. Thfs design eliminates the use
of “insulators" which reduce shell resonance. Both series are available in 21
standard finishes and a vast array of custom options

pro druir

PERCUSSION

A Guaranteed work of Art 1

Visit your local music retailer and hear the difference!

PJ.L Perrussinn F.fl. Rnx 1709 Greenwood Ijikp, NY 30925 Phone/Fax: 914-477-9^0-1

JVew And tabic

New Sabian Cymbals

Sabian has recently intro¬
duced several new cymbal
models. HH Duo rides were
created for European session
ace Bruno Castelucci. They
are characterized by their
contrasting bright and dark
appearance and sounds. Only
partially lathed on their tops
and bottoms, these small-bell, medium-thin cymbals are said to be
"fast-acting, with very definite ride responses and strong but con¬
trollable crash potential." Players can alternate between the
brighter sounds of the lathed areas or the darker, dryer sounds of
the unlathed surfaces. The cymbals are available in 18" ($267) and
20" ($309) sizes.

Sabian's new AAXDry Ride is heavy in weight, with a mid¬
sized bell, and is claimed to offer "the ultimate in clean, tonally
correct responses and pure stick articulation." The cymbal's
mid/high pitch range is said to give it exceptional cutting power. It
is available in 20" size only, at $240.

Other new ride cymbals
from Sabian include the 22"

Chester Thompson Signature
and Ed Thigpen Crystal Bell
models. The former model
offers a hand-hammered
cymbal with a large, solid,
and cutting bell and a
flanged edge designed to
control spread. The sound is said to be "toneful and direct, with
dark musical richness and distinct stroke response bridging the gap
between musicality and power." The latter model features a pitch¬
raising high profile and tone-inducing hand-hammered surface.
Sounds are said to range from "shimmering and glassy" to "deep
and toneful." The cymbal features a mid-sized bell and a flanged
edge, and is said to offer a more open sound and a different range
of color from Thigpen's flat-top Crystal Ride model. Both new
22" cymbals list at $407.

Finally, Sabian is now
offering Hand Hats (hand¬
held, thumb-controlled
mini-hi-hat instrument) that
feature 6" bronze cymbals
from the company's Pro
model line. (Previously only
6" brass cymbals were avail¬
able.) The new Hand Hats
are priced at $168. Sabian, Ltd., Meductic, NB, Canada, E0H
1LO, tel: (506) 272-2019, fax: (506) 272-2081.

TomGaugerTrapTray

The TrapTray —designed by
Boston Symphony Orchestra
percussionist Tom Gauger—is a
lightweight aluminum tray that
attaches to standard music or
cymbal stands. It has a unique
system for holding woodblocks,
cowbells, and most other acces¬
sories. It can be used right-side-
up as a table for suspending
small trap instruments, or
upside down as a tray for hold¬
ing sticks, brushes, or mallets.
The unit is designed to be a
"space-saver with endless possibilities to keep your sticks and
accessories out of your way but still accessible." It's priced at
$105. Tom Gauger, 23 Auburn St., Brookline, MA 02146, tel:
(617) 734-4024, fax: (617) 734-4308.

KAT dklO MIDI Studio Bundle
RimKAT Two-Zone Pad

The dklO MIDI Studio Bundle is a pre-packaged MIDI drum setup
based on KAT's dklO MIDI controller. The dklO comes with new
1.4 "Finger Friendly" software said to improve the performance
and sensitivity for both sticks and fingers. Also included in the
bundle is a MIDI studio rack stand, a KF1 footswitch for both pro¬
gramming and hi-hat use, and the new tap KAT trigger footswitch,
a "value-priced" pedal used for playing bass drum parts.

Also new from KAT is the rimKAT, a two-zone trigger bar that
mounts directly onto
the hoop of any
acoustic drum. The
rimKAT uses the same
dynamic FSR sensing
technology as does the
drumKAT. The use of
FSR is said to elimi¬
nate any triggering or
cross-talk problems.

The, rimKAT can be
configured to be used
as a one- or two-zone pad and works with all trigger interfaces.
Optional mounting accessories allow the user to connect up to
three rimKATs onto the drumKAT family of products. KAT, Inc.,
53 First Ave., Chicopee, MA 01020, (413) 594-7466.

MODERN DRUMMER OCTOBER

Hardcase Drum Cases

LP Mini-Timbales

With a special licens¬
ing agreement
between England's
Hardcase Company
and America's MBT
International, anew
line of drum, percus¬
sion, P.A., lighting,
and hardware cases is
now being made in the
U.S.A. The cases are
said to be affordable,
waterproof, and highly durable. They are made of high-impact
polyethylene and are roto-molded to avoid seams or "thin spots"
that may not stand up to the rigors of the road. Drum cases feature
watertight, overlapping, padded compression lids, ultra-strong
webbed straps, and snap locks. The cymbal case has a heavy-duty
center spindle and can hold twelve cymbals up to 22" in diameter.
Hardware cases and gig transporters are also available. MBT
International, P.O. Box 30819, Charleston, SC, 29417, tel:

(803) 763-9083, fax: (803) 763-9096.

Drum Accessories from Bohning

The Bohning Company, Ltd., is offering several new accessories
to aid drummers. Eliminators are sound absorption polymer disks
designed to be used as convenient, quick, and effective solutions
to ring and overtones on drums. The disks are available in 1 1/2"-
and 2 l/4"-diameter sizes and may be used on any type of head.
They are self-adhesive and may be easily removed and reused.

Also available is the Grip-Tite practice pad. Made of a similar
material as the Eliminators, the pad self-adheres to a drumhead to
soften sound during practice without disturbing the drummer's
style or method of play. The pads may be cleaned with soap and
water for reuse and are available in a variety of colors.

For drummers seeking to improve the feel of their sticks,
Bohning offers Stik-Grip drumstick wax. The wax is easily applied
to sticks to eliminate slipping. The coating is said to remain tacky
even when wet, repelling moisture for "optimal effectiveness
between applications." Stik-Grip is colorless and odorless and is
easily removed with soap and water.

Finally, for marching percussion groups and kit drummers wish¬
ing to add visual appeal to their performance, Bohning offers a
drumstick cresting kit. The kit includes a cresting machine, a uni¬
versal-size drumstick chuck, nine paint colors that cure to durable
high-gloss finishes, and custom-color mixing jars. Also supplied
are a half-pint of lacquer thinner, a thinner squeeze bottle, three
camel-hairbrushes, a cresting pattern template, and instructions.
The Bohning Company, 7361 North 7 Mile Rd., Lake City, MI
49651-9379, tel: (800) 253-0136, fax: (616) 229-4615.

miniature versions of
LP's full-size Tito
Puente models feature
6" and 8" chrome-plat¬
ed shells, authentic Cuban-style tuning, and a heavy-duty tilting
mount with eye-bolt assembly attached to the underside of the
shell separator (for quick mounting to any 3/8" rod). They list for
$189.95. LP Music Group, 160 Belmont Ave., Garfield, NJ
07026-2394, tel: (201) 478-6903, fax: (201) 772-3568

LP Music Group has
added Mini Timbales
to its line of profes¬
sional percussion
instruments. These

Power Punch PI

Bass Drum

The Power Punch Pi bass drum muffling system from Roc-N-Soc
features a set of interchangeable self-adhesive pads, in two differ¬
ent sizes. The largest pad is designed to fit into the bottom of the
bass drum; the remaining pads may be used (or not used) at the
drummer's discretion to fine-tune the amount of muffling. The
rectangular pads are attached anywhere on the inside circumfer¬
ence of the drum shell by means of Velcro strips, and may easily
be added or removed as necessary in new acoustic environments.
Five- and seven-pad sets are available for live or studio applica¬
tions. Roc-N-Soc, 2511 Asheville Rd., Waynesville, NC 28786,
tel: (704) 452-1736, fax: (704) 452-1732

Pad-A-Drum Gig Carpet

The Pad-A-Drum carpet feMures three specially formulated layers
designed to lock a kit in place without boltdown hardware. The
surface layer grips the kit and holds it in place; the middle pad
layer absorbs stress on both the player and the kit's hardware; the
bottom rubber layer secures the carpet to the floor. Available in a
neutral gray color to work with any kit finish, the carpet's surface
is firm but soft to the touch, is claimed to absorb irritating vibra¬
tions when the drums are played over bare floors, will not rot
when wet, and can be painted with band logos or kit position
marks. The carpet rolls up easily for transport and is available in
two sizes: 8 l/2'x6' ($49.95 plus $11.95 shipping) and 5'x6' ($34.95
plus $7.95 shipping). Pad-A-Rug Industries, 21919 Michigan
Ave., Dearborn, MI 48124, tel: (800) 4321-PAD, fax: (313) 277-
1605.

MODEftN (JPUMWEft 0CT06E k I MS

Sherpa Electronic Hi-Hat
And Ride Cymbal Pads

Canada's Sherpa Enterprises has
released their improved SP63H
dual-output hi-hat and
SP63DTCP dual-trigger ride
cymbal pads. The new SP63H
now comes with four 1/4" plugs
on the back. Two of the plugs are
for older MIDI interfaces that do
not offer a footswitch plug for
operating hi-hat open and closed
sounds. (One plug is for open,
the other for closed sounds; two
inputs on the MIDI interface are
required.) The other two plugs on
the hi-hat pad are for newer drum
units such as the Yamaha TMX
and the Alesis D4. One plug is a
direct connection to the hi-hat
pad's trigger; the other connects
to the footswitch plug of the drum unit or MIDI interface control¬
ling the open and closed hi-hat sounds (as well as giving a pedal
sound). This setup requires only one input on the interface, leaving
an extra input for crash or ride cymbal pads. The SP63H comes
complete with all hardware and mounts onto the player's own hi-
hat stand. It also has a sensitivity boost switch, providing extra
"bite" for triggering open and closed sounds with the foot.

The new SP63DTCP ride cymbal pad now has a metal bell on
the top allowing for ease of use while playing the bell of the cym¬
bal pad. The pad mounts directly onto all cymbal stands with no
extra clamping required. Both the ride and the hi-hat pads offer 8"
playing surfaces of high-bounce, soft-touch rubber for playing
comfort. Retail price for the hi-hat pad is $190; the ride pad is
priced at $170. Sherpa Enterprises Inc., in Canada: P.O. Box
556 Station U, Toronto, ON M8Z-5Y9, tel: (416) 251-7509, fax:
(416) 251-3625, orintheU.S.: P.O Box 15271, San Francisco^
CA 94115 tel/fax: (415) 282-9738, e-mail:
DERRICK@MNUSA.COM

D-Tool All-in-One Drum Tool

The D-Tool is an all-in-
one drum tool that con¬
tains four metric hex
keys (to adjust virtually
all bass pedals on the
market), slotted- and
phillips-head screw¬
drivers, and a drumkey.

The tools are fitted into a
pocketknife-style case
for convenience. The D-Tool has a two-year warranty and a sug¬
gested retail price of $19.95. C&R Guitars, 2140 S. Harvard,
Tulsa, OK 74114, tel: (918) 747-1407, fax: (918) 744-5477.

Visu-Lite Position-Sensing Hi-Hats

New Visu-Lite Position-Sensing Hi-Hats worx on a regular hi-hat
stand without any added foot controllers. The plastic cymbals con¬
tain the triggers as well as the position sensing devices. The new
model is compatible with the Roland TD7 and TD5, KAT con¬
trollers, and any other interfaces that use continuous controlling
for the hi-hat function. This allows the use of seven or more hi-hat
sounds to achieve very realistic hi-hat performance, feel, and tech¬
nique. The unit conies with or without a bell trigger. Electronic
Percussion Systems, 220 6th Ave. S., St. Cloud, MN 56301,
tel/fax: (612) 259-1840.

Buddy Rich Secrets Videos

Two instructional videos, Secrets Of The World's Greatest
Drummer and More Secrets Of The World's Greatest Drummer
are available from RTC Enterprises. The videos, presented by
drummer/bandleader Dick Cully, offer in-depth analysis of the
playing styles of the late Buddy Rich. Both videos have been
endorsed by the Buddy Rich Fan Club, the National Drum
Association, and "a number of well-respected 'name' drummers."
Each ninety-minute video costs $59.95. RTC Enterprises, 7040
W. Palmetto Park Rd., Suite 2-406, Boca Raton, FL 33433.
Credit card orders call (407) 750-0035.

Shelley’s Cymbal Polish

Shelley Scott, professional drummer, percussionist, and producer,
is marketing a new cymbal polish and protector. Shelley claims
that his polish is "the ultimate for drummers who want their cym¬
bals to shine with original brilliance. It also works extremely well
on drum hardware and chrome." The paste-style polish is also said
to be "acid-free and environmentally friendly." Shelley’s Cymbal
Polish, 8575 Morro Rd, Suite D, Atascadero, CA 93422.

Corrections

The phone number for Stay Cool Instrument Covers published in
the July Product Close-Up was incorrect. The correct number is
(615)646-3145.

The address for Silver Fox Percussion published in the
Manufacturers Directory of the 1995-96 MD Buyer's Guide
should read P.O. Box 60884, Fort Meyers, FL 33906-6884.

MODERN DRUMw£R OCTOBER 1W5

We’ve Been Saving This
Design For Over 100 Years.

Introducing Afro Elite Series
Congas and Bongos.

Hand crafted to duplicate an original Cuban Conga
design from the late 1800's, the exclusive shape,
sound and sze of this prized instrument provides a
legacy that can be seen and heard in every Elite
Series Conga and Bongo. To further accentuate its
tone, our new Contour Crown extends well past
the diameter of the shell, creating a more open
sounding drum. Ail new exclusive highly polished
see-thru laoquer finishes and true 34k gold plated
hardware provide shinning looks second to none.
The New Elite Series from Afro.., as the name

implies, a step above die rest.

Afrc?

Instnimeits Iran tlie Earth.

State of the ait features, the finest natural
materials and superb craftsmanship are
combined with a design so rich with heritage
it dates back well over one hundred years

Afro ftroitsaon lftslruntoil.t are proudly ttistrihulixl in (he US en±isivdyby Fkarl Garporetiim
Foe more Lniomation about any Afro fercusskm wodurt see your local Auihoriaad ftarl i Afro
liealei ot write to: tVjil Cbrpciratwn, Afro EVoduct Info, 549 Hetroploi Dr., Nashville TN 3721

Our Masters Custom Gold Has Just

]/Vhetheryour playing one of our new Masters
Custom Gold Series drumsets like the one
below, or a favorite kit you've had for years, the
snare drum is the center of your sound
Nothing can complement your playing style,
your individually, liken tivly.great sounding
snare drum.

Introducing the snare sound you've keen wait
ing tor. The incredible sound you thought only
the best players could get The sound of
Masters Scries Gold.

Our new line of Masters Series Gold snare
drums offers you a choice of two different fine
woods. Maple and Mahogany, plus the powerful
sound of classic brass. Our hip four ply 100%
hand selected premium wood shells, with pro¬
portional reinforcement tings at both top and
bottom, each have their own character and
tonal quality to provide he perfect complement
for most any style of music and style of play.

The rtew Masters Series Mahogany
Classic Uini ted Edition snare drum is Richie
Hayward'sfavorite. This beautifully finished
natural Burl Mahogany snare drum sounds
as good as It looks. You can hear Richie
playing il e^ty night while on tour with
Little Feat, or better yet well send you he
new Little Feat "Ain't Had Enough Fun" CD
free with the purchase of any Masters Series
Gold snare drum. Check out he specifics
below right for more information because
supply is limited, hen get ready for a new
snare sound you only dreamed possible.
New Masters Series Gold Snare Drums...
like nothing you ‘ve heard before.

ILuJ .

The best mason to play drums.

deceived Four New Complements.

Masters Custom
Gold

6‘Axl4, or 5x14
4 ply, 5mm Maple Shell
warm, full boaied and
very resonant tone.
24k gold plated 2mm
steel hoops and classic
bridge type lugs.

Masters Custom
Gold

6'Ax 14, 4 ply, 5mm
Maple Shelf with a
warm , full bodied and
- . very resonant tone.

24k gold plated die cast
hoops and double lugs.

Free Little Feat CD

For a limited time, when you buy any Masters Series Gold Snare Drum, we'll send you a copy of the latest Little Feat
CD "Ain't Had Enough Fun"featuring Richie Hayward and Pearl's Masters Series Drums, while supplies last. Simply
send a copy of your Masters Series Gold Snare Drum sales receipt along with a completed official proofof purchase
card (available at your local Pearl dealer) to; Pearl Corporation, Little Feat CD Offer, 549 Metroplex, Dr, Nashville, TN
37211. The CD will be sent directly to the address on the card we receive. Only Masters Series Gold Snare Drums
purchased between 9-l-95and 10-31-95 make you eligible for this offer. Act fast as this is a limited time offer and
good only while supplies last. All cards must be postmarked no later than 1 1 -JO-95.

Richie Hayward

Little Feat

Mahogany Classic
Limited Edition

6'Axl4, 4ply 5mm
Burl Mahogany shell

I The sound is very
varm and focused, with
a classic vintage tone.
24k gold plated die cast
hoops and double lugs.

Masters Series
Brass

6Zx 14, solid Brass Shell
with a warm, bright tone
with excellent attack and
great projection.

24k gold plated die cast
hoops and double lugs.

Prodiict Close- Up

Gibraltar Hardware

by Rick Mattingly

Specialization gives Gibraltar an edge in
the hardware department.

Several companies make great drums but don't even bother with
hardware. Gibraltar, by contrast, specializes in hardware and
doesn't make drums. MD has reviewed several drumkits in recent
years that came supplied with Gibraltar hardware, but we only
reviewed the drums themselves. So now we'll take a look at some
of the hardware that many drummers are using with a variety of
brands of drums. This is only a sample of the wide range of prod¬
ucts that Gibraltar makes, but it should give you an idea of the
diversity and the general quality of Gibraltar hardware.

Intruder Bass Drum Pedals

These are Gibraltar's most heavy-duty pedals, and the ones with
the most sophisticated features. Pedals are available in both
sprocket-drive and cam-drive versions, and both versions are
available as double pedals. MD received one of each model for
review.

First, features they all have in common: Intruder pedals are
based on the old Camco/Gretsch Floating Action design with a
single spring that can be adjusted over a fairly wide range of ten¬
sion. (A nice touch is a set of lock washers that help the spring
tension adjustment screws stay put.) Gibraltar has made several
improvements to the basic design—notably the individually
adjustable beater and footboard angles. Additionally, the screw
that secures the hoop clamp is long enough that you can adjust it
near where the beater shaft is attached, so you don't have to reach

under the footplate as with most pedals.

The beater is wood with felt over one side for two different
striking surfaces, and there is an adjustable weight that slides up
and down the shaft (or that can be removed). The beater shaft (as
well as the shaft that connects the double pedals) is secured with
two drumkey-operated screws instead of just one, which can help
prevent accidents during a performance.

The pedals are mounted on solid floor plates that have Velcro on
the bottom to prevent slipping, and each pedal has two sprung
spurs that can also be engaged. (Actually, the right pedal on one of
the double pedals was missing its spurs. I assume this was an
assembly error, since all of the other pedals had spurs and all of
the photos in the Gibraltar catalog showed them.)

The double pedal consists of two pedals connected with a shaft
that is adjustable for length on both ends (12" at its shortest; 18"
fully extended). A swivel joint on each end of the shaft allows
flexible positioning of each pedal. Right out of the box, beater and
footboard angles matched, and thanks to the individual beater and
footboard angle adjustments, it is easy to keep everything aligned
no matter how you like your beaters and footboards angled. The
right pedal has a spring on each side (one for each of the beaters).
The left pedal has its own spring that can be detached during dou¬
ble-pedal operation or engaged if you wish to use the pedal by
itself. For those who sometimes use two bass drums but other
times only want one drum with a double pedal, the Intruder sys¬
tem makes it easy to use the same pedals for both applications.

Both versions of the Intruder pedal use a double chain. On the
sprocket-drive version, the chain connects with sprocket teeth, like
on a bicycle. On the cam-drive pedal, the chain rests in a felt-lined
trough. The feel is virtually identical on each pedal, but the
sprocket drive pedal is noisier due to the metal-to-metal contact of

MODERN DRUMMER OCTOBER 1995

the chain and the teeth. It's not a particularly loud sound, and in
many playing situations it would never be heard over the music.
But for very soft playing, or in situations where a microphone is
placed near the pedal, the cam-drive pedal would be a better
choice.

Overall, the Intruder pedals feel great, are extremely well made,
and have a lot of user-friendly features. Both versions of the
Intruder single pedal list for $169.50; Intruder double pedals list
for $425.50.

Avenger Bass Drum Pedals

Avenger bass drum pedals are simpler than the Intruder pedals,
but are based on the same Camco/Gretsch design with the single
spring. They also have individually adjustable beater and foot¬
board angles. The double chain works in conjunction with the
same cam design as the Intruder cam-drive pedals; there are no
Avenger sprocket-drive pedals. The support posts are slightly less

bulky than those on the Intruder pedals, but I would still classify
them as heavy-duty. The Avenger pedal is not mounted on a plate
like the Intruder pedals (although one can be purchased separately
and attached). The hoop mount is a standard design that has a
wing screw under the footplate. There are two sprung spurs to pre¬
vent creep. The pedal comes with a felt beater.

Gibraltar offers two Avenger double pedals: a right-play and a
left-play version. Unlike the Intruder double pedals, the secondary
Avenger pedals are not equipped with a spring for independent
use. The shaft that connects the two pedals is only adjustable from
one side, but it still goes from 12" to 18" and swivels on both ends
for flexible positioning. The secondary pedal comes mounted on a
plate like the Intruder pedals.

The Avenger pedals feature the same smooth action as the
Intruder pedals and are solidly constructed. The single Avenger
pedal lists for $149.50; each of the double pedals lists for
$415.50—just $10 less than the Intruder double pedals, which
have a lot more features.

JZ Series Stands

Drummers who schlep small kits around for jazz gigs and club
dates often complain that most of today's hardware is aimed at
rock drummers who abuse their equipment and have roadies to
carry it for them. Whatever happened to sturdy but lightweight
stands that were easy to carry and held snare drums and cymbals
just fine? (I know drummers who prize their '60s-era flat-base
Ludwig stands the way some drummers treasure "old K" cymbals
made in Istanbul.)

Gibraltar's JZ series will find favor with such drummers, as well
as with students (or typical gigging drummers) who are on a bud¬
get. All of the stands feature single-braced tripod legs that extend
out far enough for stability and that have thick rubber feet. Wing
nuts are large for easy tightening, and the height-adjustment mech¬
anisms all have ABS nylon collars that prevent metal-to-metal
contact and also provide a snug fit. Yet all JZ stands collapse to
very portable sizes.

The JZ06 snare stand is the traditional basket design. It can hold
a drum from 10" to 15" in diameter and will go from 20" to 30"
high. List price is $79.50.

The JZ07 hi-hat pedal is a direct-pull design with adjustable
spring tension. It is smooth, but when the pedal was released there
was a little bit of noise caused by the chain rattling against the
footplate. List price is $99.50.

The JZ09 boom cymbal stand has an 18" boom arm and allows

WHAT'S HOT

* JZ Series stands finally offer professional
performance with low weight

* ATS stands offer the ultimate in positioning
flexibility

* state-of-the-art design elements and excellent
warranty—at attractive price points

WHAT'S NOT

* chain linkages on Intruder bass drum and JZ
hi-hat pedals can be noisy

¥ t?

MCOERS OCTOBER 1595

a cymbal to be placed over 5' high, even when angled over a
drumkit. The legs have a wide spread for stability. List price is
$89.50.

The JZ10 straight cymbal stand has three sections and is about
4 1/2' high when fully extended. The cymbal tilters on this stand and
the JZ09 are geared for a wide variety of angles as well as preven¬
tion of slippage. List price is $79.50.

9507NL Hi-Hat Pedal

Gibraltar's top-line hardware is its 9500 series, from which I
tested the 9507NL hi-hat pedal. The "NL" stands for "no legs"; it

comes with a clamp for attach¬
ing it to a bass drum in a dou¬
ble-bass setup or to a rack sys¬
tem. The pedal features twin
springs, each of which has
adjustable tension. The pedal is
smooth and quiet, and lists for
$164.50. (The 9507 hi-hat with
double-braced legs costs $10
less—go figure.)

ATS Stands

Gibraltar's Advanced Tripod
System (ATS) is a patented sys¬
tem by which one of a stand's
legs can be adjusted indepen¬
dently of the other two in order
to tilt the stand, put one leg at a
different level than the other legs (for instance, one leg on a riser
and the other two legs on the floor, or vice-versa), or to simply get
one leg out of the way of a leg on another stand in tight, multi¬
stand setups. This feature is available on a variety of Gibraltar
stands; for review we received a hi-hat stand, a short boom cymbal
stand, a double tom stand, a bongo stand, and a throne.

Trying to describe in words exactly how the ATS system is con¬
structed could be difficult, so I'll just stick to the essentials. One
leg is independent; the other two are connected. It's not just the
one-leg unit that can move, however. The two-leg unit can also be
maneuvered. Each unit slides up and down the main shaft in two
places: at the top of the leg and at the bottom of the leg brace.
Each of those adjustment points is secured with a screw. (Both
drumkey-operated screws and wing screws were supplied, so you
can use whichever one you prefer.)

Because of the two adjustment points, there seem to be unlimit¬
ed ways to position the legs. Fooling with all four adjustment
points at once to create extreme arrangements of legs can be
aggravating, but once you arrive at your desired arrangement, you
can probably leave one of the adjustment points on each leg at a
set position and just use the other ones for setup and teardown. (I
say "probably" only because there are so many possible ways to

position the legs that you might come up with an arrangement that
does require you to loosen all the screws to collapse the legs. But
with all of the positions I tried, I was able to secure either the top
or bottom adjustment screw on each leg unit and only use the
remaining one for teardown.) For a lot of leg arrangements, one
would only need to alter one of the leg units, which isn't that big a
deal.

One point worth noting about the hi-hat pedal is that the legs do
not have quite as much versatility because the pedal unit is in the
way. However, the legs do swivel, which can be a big help in mul¬
tiple-pedal setups. Regarding the drum throne with the ATS sys¬
tem, to me that seemed to be the one with the least practical value,
since I can't imagine wanting to tilt my throne and I would hope
that I wouldn't need to put one of the legs on a different level. And
yet, you never know what you'll run into out there in the gigging
world, so such a throne might literally save your you-know-what
on a given night.

The ATS stands are based on Gibraltar's 9500 series stands,
which are extremely
heavy-duty. (See the
9507 hi-hat review
above.) Drummers
with large setups
that involve a lot of
drums and stands
will appreciate the
ability to tilt the ATS
stands or to change
the angle of the legs.

Those who have
trouble fitting their
kits onto risers will
like the option of
raising one of the
legs. The stands can
also be used in the
traditional manner,
where all the legs
are angled the same way and are at the same height.

List prices for the ATS stands we received for review are as fol¬
lows: ATS07ML hi-hat stand with movable leg base—$159.50;
ATS13 double tom stand—$144.50; ATS16 bongo stand—
$129.50; ATS08 throne—$155.50; ATS09S short boom cymbal
stand—$148.50. (Just for comparison, a 95095 short boom cymbal
stand without A75 legs lists for $134.50.)

A Final Note

The people at Gibraltar stand behind their stands. All Gibraltar
hardware is covered by a three-year warranty on materials and
workmanship.

MOOeftN QftUMMEft OCTOhSk !

Specialty Bass Drum Beaters

by Rick Van Horn

I'm old enough to remember a time when you bought a drumkit
and played the bass drum pedal that came with it—period. Over
the past twenty years, however, bass drum pedals have become the
focus of tremendous player and designer attention, making them
specialty items totally separate from drums. And now that special¬
ty pedals are the norm, it's not surprising that specialty beaters for
those pedals have followed. Pro-Mark's Self Adjusting Beater
(reviewed in MD's November '94 issue) and Tama's Iron Cobra
beater (reviewed in the October '94 issue; available as an after-
market item for non-Tama pedals) are just two of the high-tech
approaches to this formerly mundane pedal component. Now you
can add the Master, from SpeedBall Manufacturing, the LSD-2,
from Slug Percussion Products, and the Titanium Lightning beater
from Bison Drum Co. to the list. Each offers unique characteristics
worthy of examination.

SpeedBall Master

The Master espouses the philosophy that "more is more." With
that in mind, it offers a large (just under 1 1/2" square), flat impact
surface on a very solid cast urethane beater head. In order to make
sure that this surface always strikes the drumhead with maximum
effect, the beater head is mounted on a self-adjusting swivel axle.
All you need to do is put the beater shaft into your pedal and push
the beater head against the drumhead to align it on a horizontal
axis. From that point the swivel head will make sure that the beat¬
er aligns itself on a vertical axis. This is important because differ¬
ent pedals place the beater shaft at different distances from the
bass drum head, and unless the beater head can adjust in some
way, it's possible for it to come in to the bass drum head at a pro¬
nounced angle, rather
than flush. This can't
happen with the
Master, it will strike
flush no matter what
the head-to-pedal dis¬
tance might be.

For those who like
to personalize the
action of their pedals
to the utmost, the
Master is equipped
with a solid brass
balancing weight on

the hardened-steel beater shaft. This weight can be adjusted by
means of a handy thumbscrew (no drumkey needed) and can vary
the feel of the beater from moderately powerful to sledge-hammer
impact. (Of course, if you prefer a lighter feel, you can remove the
weight entirely.) The shaft itself is guaranteed not to bend "even
under the roughest foot." I play fairly hard, and the beater certain¬
ly felt good and solid under my foot.

In terms of sound, the Master's large striking surface moves a
lot of drumhead—and, correspondingly, a lot of air within the bass
drum. So you get a deep, solid, punchy sound. But you also get a
lot of hard plastic "slap" as the urethane beater surface hits the
Mylar head surface. Drummers who like this sort of attack (such
as those who already use wood or hard plastic beaters) will enjoy
the natural sound of the Master beater. Those who like a more
mellow impact sound will probably want to add a softening pad
(such as felt, moleskin, or other such material) to the drumhead at
the point of impact. (I'm informed by SpeedBall that beaters will
be available with leather, felt, and rubber contact faces by the time
you read this review.)

The Master is a well-constructed item that offers a unique (if
one-dimensional) sound along with excellent adjustibility for tai¬
loring the feel of one's pedal. It fits virtually all brands and mod¬
els of pedals, and comes with a one-year guarantee. It carries a list
price of $24.95. If you can't find one in your local drumshop, con¬
tact SpeedBall, 1069 E. Broadway, San Gabriel, CA 91776, tel:
(818) 287-7424, fax: (818) 285-1095.

Slug L3D-2

Actually, this baby's full name is the Slug L3D-2 Dual Axis
Centering Bass Drum Beater. But we're just going to call it the
L3D-2. Even that designation needs amendment, though, because
the beater comes in two versions: the L3D-2SS (with stainless steel
shaft) and the L3D-2T (with titanium shaft).

We'll get to those differences in a minute, but let's start with the
most unusual feature of these beaters: the "Power Bass Head."
Shaped something like a ball-peen hammer and made of a molded
plastic composite, the Power Bass Head offers two playing sur¬
faces: a 1 5/16"-diameter flat circular surface and a curved surface
about 1/2" square on the opposite side. The flat surface is referred
to as a "split disk" because it is bisected by a small strip of felt set
into a shallow slot; the curved surface is referred to as the "oval
side" (owing to the profile of the beater at that point) and is cov¬
ered with felt.

The "dual axis" part of the beater's full name refers to the fact
that the beater head can swivel 15° on a vertical axis to align itself
flush with the drumhead, and can also pivot 180° on a horizontal

Mft&LRN DkU’M.WLft OCTMtftlm

axis to allow instant selection of the playing head. (No adjustment
of tightening bolts or clamps is needed for this operation.) Just
enough "play" has been engineered into this function to allow the
beater head to self-align itself on the horizontal axis as well as the
vertical, without any risk of its slipping completely away from the
head surface you've selected. An internal stop is built in to keep
the beater pointed where you want it.

The L3D-2 has no balancing weight to adjust its playing feel,
but that feel is definitely affected by
which head surface is
selected. It isn't so much
that reversing the head
changes the balance, but
rather that the beater's
rebound off the drum¬
head surface is radically
affected. The split-disk
surface plows into the
drumhead and spreads its impact out, so it
doesn't really "bounce back." The oval head,
on the other hand, strikes a glancing blow at
a much more focused impact point, and
comes off the head very quickly. I liked this
particular action very much.

While we're on the subject of playing feel,
this is the time to discuss the two types of shafts available on the
L3D-2. The basic shaft is hardened stainless steel. This type is rec¬
ommended for hard players and/or those who like to "dig in" to a
bass drum head with their pedals. The titanium shaft, on the other
hand, offers more flex and resiliency, and gives the pedal a sort of
"whipping" action. (Designer Eric Behrenfeld describes it as being
the difference between a baseball bat [the steel shaft] and a golf
club [the titanium shaft]. It's recommended for those who want to
maximize speed and rebound as opposed to pure power. (I must
say I found the difference subtle in the brief time I was able to test
the beaters, but it was noticeable.) In either material the shafts are
minutely tapered to strengthen them and add weight at the beater
end while allowing them to fit into virtually any pedal at the
mounting end.

In terms of sound, the split-disk head created a hard, slappy,
punchy sound from my bass drum. Lots of volume, and lots of
attack. The oval head, on the other hand, gave a more pointed and
focused sound, with what I perceived as a bit more depth. (It may
have been that the felt surface of the oval head softened the attack
sound just enough to let me hear more of the drum's depth.) While
I preferred the second sound over the first, I liked the fact that I
had an instantaneous choice at my fingertips; you never know
when you may want to vary your bass drum sound for the sake of
a different room or even just a different song.

The Slug L3D-2 is available in three colors: black or green (for
the stainless steel-shaft version, priced at $34.95) and white (for
the titanium-shaft version, priced at $79.95). It's machined with no
nuts or bolts to loosen or fall off, and it comes with a three-year

warranty. Check it out at your drumshop, or contact Slug
Percussion Products, P.O. Box 578306, Chicago, IL 60657-8306,
(312)432-0553.

Bison Titanium Lightning

Perhaps the most "traditional" of the specialty beaters examined
here, the Bison Titanium Lightning offers standard felt or wood
beater heads in an interchangeable, screw-on design. But the shaft
is different from that of any "traditional" beater. It's made of air¬
craft-grade titanium, specially treated for improved rebound and
reduced foot fatigue. Designer Mitch Greenberg modestly claims
that this beater is "the only product on the market that you can
simply buy that will improve your ability to play the drums." He
also told us that the only way to really tell that the new beater has
enhanced one's playing is to try it for a couple of weeks and then
go back to one's old one. So that's what I did—and he was cor¬
rect. The feel of the Titanium Lightning is more resilient and
"springy" than any other beater I've played. (Its shaft is minutely
smaller in diameter than that of the Slug titanium beater, and does
not appear to be tapered, which may account for the difference in
resilience between the two.)

Now, whether or not the Titanium Lightning's "springy" feel
will suit you is a question that you must determine according to
your playing style and requirements. As I said earlier, I hit fairly
hard—but not hard enough to have ever broken a beater shaft. So I
don't think I would have a problem with the Bison beater in that
regard. And I did appreciate the rebound action when I was play¬
ing in lighter situations calling for a heel-down technique. On the
other hand, those who really stomp their pedals into the ground
might be more concerned with shaft durability than with shaft
flexibility, in which case
this might not be the per¬
fect beater for them. But
it certainly does what it
claims to do, so take that
into consideration and
make your choice.

The sound qualities of
the Titanium Lightning
are really not an issue
here, since it features
interchangeable heads of
traditional, familiar mate¬
rials. (The felt-headed
version sounds like a felt
beater should; the wood-headed version sounds like a wood beater
should.) The big feature here is the action the beater provides. If
that action appeals to you, check out the Titanium Lightning beater
at your local shop, or contact Bison Drum Co., 109 N. Milwaukee
Ave., Wheeling, IL 60090, (708) 459-1255. The beater lists for
$49.95.

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By Robyn Flans and William F. Miller

ichie Hayward
is like a kid in a
candy store. A
new Little Feat record (with
some typically killer drum
tracks), a new bandmember,
and a scheduled tour all have
him pretty excited. It's clear
that even after twenty-five
years as a member of Little
Feat—a truly great band—
Richie's passion for drums
and music has not let up.

Richie's drumming passion
began in Ames, Iowa at the
age of three. He recalls mow¬
ing lawns and shoveling
rocks at age eleven so he
could buy a $150

Montgomery Ward dmmset.
While Richie had a total of
only three months of instruc¬
tion at the age of twelve, he
strongly recommends tute¬
lage. He stresses that his lack
thereof was not from desire,
but rather from the shortage
of good teachers in his area.

Richie moved to L.A. when
he was nineteen, and shortly
thereafter, in 1966, answered
an ad in the Free Press that
said, "Drummer wanted—
must be freaky." It turned
out to be from Lowell
George, who was in a band
called the Factory, a typical
'60s bell-bottom-and-sandals

group. A couple of years
later, Little Feat was bom.

After the many trials and
tribulations, hard times, and
jubilant events in what
Richie calls his "musical
adventure," it is no surprise
that Hayward is currently
the subject of a book by Rick
Gratton and Maureen Brown.
And with the recent release
of Ain 'tHad Enough Fun,
Little Feat's newest disc, he's
feeling renewed and
refreshed. The music sounds
like a street party, with
Richie on drums, conducting
the fun.

Photos By Aldo Mauro

MOOTRN nRuwwER CCTODHf

MD: You have a very definite style with Little Feat. Can you
describe that style and where it came from?

RH: My style has grown with the band. It started out heavily
influenced by blues, rock 'n' roll, and jazz. Then it got more spe¬
cific as I got into other kinds of American folk music and other
roots music. I discovered New Orleans along the way, and that
made a big difference; it loosened me up. I guess I'm a result of
everything I've heard and how the band has grown in response to
all our influences, which are diverse. That's what makes Little
Feat an interesting band. But my playing is just a combination of
all the styles I ever heard. I picked up a little of this and that and
mish-mashed it all together.

MD: Are there particular drummers who influenced you along
the way?

RH: The first drummer who turned my head was Sonny Payne,
who was with Basie. It was on some hokey black & white TV
show, but I was mesmerized. The way he moved was hypnotic,
energetic. Playing the drums became a passion for me right then.

Everyone I've ever seen has taught me something—whether

it's what to do or what not to do. Sonny impressed me a lot with
his passion for the instrument. Other drummers along the line
were some of those almost anonymous blues dmmmers on those
old records by people like Muddy Waters and Howlin' Wolf.
Then, of course, all the jazz monsters like Tony Williams, Elvin
Jones, Max Roach, and Art Blakey. I wasn't really that moved
by rock 'n' roll drumming until the mid-'60s, which is when it
got interesting. People like Zig Modeliste, Jim Keltner, and Jeff
Porcaro always inspired me.

MD: You said your style evolved with the band, and you've
mentioned in the past that Lowell George sort of directed and
shaped your playing.

RH: In a way, yes. He helped a lot for sure. He would describe a
basic feel he wanted to the point where I would get started on an
idea —then he would suggest something to change it to make it
more like what he had in mind. I would take it from there and try
to put all these ideas into some kind of coherent thing, and then
improvise on it. I always tried to sneak my fills in.

One of the things I do a lot are the fills I play between my left

MOO: P.N DRLMYE R OCTOBER 1 Wb

hand and right foot, instead of breaking up the whole feel and
doing a fill like it's separate from the groove. That started hap¬
pening mainly because Lowell kept telling me not to do fills,
because he wanted to keep the feel. The only way I could sneak
in the fills that I felt were necessary to progress the tune was by
doing things with my left hand and right foot. That way the
groove didn't get completely broken. It turned into something I
thought was cool, so I worked it out from there. I'm still trying to
work it out. [laughs]

MD: What is your concept of using the bass drum within
grooves and fills?

RH: I always thought the bass drum wasn't just the timekeep¬
er—it's another part of the instrument. I like the way it feels to
use the bass drum as a tom. It expands what you can do with the
kit as far as textures go. What I practice are various forms of
paradiddles between my left hand and right foot and other com¬
binations of things. It's really combinations of one's, two's, and
three's between the left hand and right foot. I would try all kinds
of interplay between the two, and that turned into a whole other
bass drum technique. I think it's important to kick with the bass a
lot, but then it's also interesting to do little flurries around the
bass line—within the groove—where you're not breaking the
ride with your right hand, but doing little fills with your left hand
and right foot on different drums.

MD: The parts in the Little Feat songs seem simple, but at the
same time they seem intricately worked out.

RH: That's true. It evolves to that, within certain parameters. I
always leave myself a lot of room to change and experiment, but
the basic part is separately worked out for that tune and the way
the guys play that tune. Every night we play the songs a little dif¬
ferent. It's interesting to come up with a drum part that is unique
as opposed to "drum beat number four."

MD: How did some of the songs on the new album get worked
out within the band?

RH: Whoever wrote the particular song would usually come in
with a demo tape that had some sort of drum machine pattern
and a basic skeleton of a tune. Then we would all start to play it.
As each of us separately develops our parts, we listen to what the
other guys are doing and we adjust our parts a little bit accord¬
ingly. We've been working together for so long that this just nat-

Drumset: Pearl Masters
Custom series in
Emerald Mist finish

A. 3 1/2x 14 Free

Floating wood piccolo

B. 6 1/2 x14 Mahogany

Classic Limited
Edition snare

C. 10 x 10 tom

D. 10 x 12 tom

E. 11 x 13 tom

F. 12 x 14 tom

G. 14 x 16 tom

H. 18 x 22 bass drum

Hardware: Pearl, includ¬
ing an older model rack
system

Sticks: Pro-Mark 747 oak
with wood tip

Electronics: three fans

Cymbals: Sabian

1. 14" AA hi-hats

2. 10" AA Mini Chinese

3. 10" AA splash

4. 20" Chinese

5. 12" splash

6. 18" AA crash

7. 16" El Sabor

8. 21 "AAmedium
ride (Brilliant)

9. 18 "El Sabor

10. 14" Fusion hi-hats

11. 20" AA Chinese

Heads: Remo coated
Ambassador snare batter,
Ambassador snare-side
head, clear Ambassadors
on tops and bottoms of
toms, Powerstroke 3 on
bass drum (with DW pil¬
low for muffling)

rAODF RN R OCTOBER : 995

urally happens, and each song develops its own little thing that
makes it a little different. As everyone works it out, it kind of
grows up. A lot of times I've lamented the fact that we didn't
play the songs on the road before we recorded them, because
they often turn into something much better on the road.

MD: Has the process changed over the years?

RH: We've grown up in that we don't need to rehearse as many

times as we used to. The level of musicianship has risen quite a
bit since 1971.

MD: Again, Lowell was such a dominant force....

RH: On his tunes he was. If someone else had a song, he would
have suggestions, but it wasn't direction with a capital D. We
miss him, of course [George passed away in 1979], but we get
along a lot better now. Maybe we've come to respect each other

Stars On Richie

Richie Hayward's drumming influence has been felt far and wide. That grooving, quirky, and brilliantly left-turn playing style
of his has affected many drummers, including several "name" players. Here are a few who kindly offered their feelings about
Richie and his playing.

Rod Morgenstein

"Back in 1981 the Dregs did a co-headlining tour with Little Feat, which was right after Lowell George's
death. It was during that time that I became a really big fan of Richie.

"The thing that stands out to me about Richie is that he is a natural. There are a lot of phenomenal
drummers out there, but often when you hear drummers you can tell that they really worked hard to
get to where they got—a lot of shedding, locking the door and giving up a lot of their lives. Richie, to
me, is one of those guys who never had to do that. He just sat down at a set of drums and started
playing.

"You can teach somebody everything as far as technique goes, but you can really only teach 'feel'
to a certain point. There has to be a certain amount of natural talent. That's what makes Richie spectac¬
ular. There's something in his touch that is really special, and it's something that has always stood out in
my memory.

"I specifically remember one night when we were performing on Long Island. I was in the dressing room, sitting with my
practice pad as I always do, warming up for at least an hour before the show. Richie came in, looked at me, and asked,
'How can you do that? I can't warm up. I just can't sit down and do that,' which made it that much more amazing that he
plays the way he does. And it's not all just feel-good music—he has great technique and some really interesting licks.
Richie's just naturally gifted, and basically, I hate people like him." [laughs]

Jim Keltner

"Richie first came to my attention on the first Ry Cooder album, the one with with the Airstream trail¬
er on it. The drumming on that record knocked me out, and I remember Ringo saying he felt the
same way. What I liked about Richie's playing on that album was that he left so much space—
everything he played just made sense. There was no wasted effort. His playing on that album
helped shape the way I approached my future playing with Ry."

Chad Smith

"I got into Little Feat in '86 when the Chili Peppers were rehearsing at a place called the Alley in a room
that was dedicated to Lowell George. There was a heavy Little Feat vibe. That's when I started to
appreciate his playing.

"Then we played a gig with Little Feat in Austin, Texas, where I got to watch Richie. What .
impressed me was how he played with such power and finesse, but did it in a totally relaxed way— I
almost like he was reading the paper. There was no wasted energy. He was focused and played
some really funky stuff. His movements were very thrifty and his unorthodox style was very cool.

"Afterwards, when I went to their trailer to tell him I thought he was great, what impressed me, again,
was how humble, modest, and unassuming he was. I thought, This guy is an amazing, legendary drum
mer, and when some young punk kid comes up to him, he's still really modest and humble—very cool.'"

Vinnic Colaiuta

"Richie plays some really different things—stuff you wouldn't necessarily expect in that context. I
remember the tune 'A Day At The Dog Races.' The drumming on that one really tripped me out. It
particularly illustrates what attracted me to his playing—that individual sound working within the
context of the band. He was stretching. Richie can really play."

MOutRN UtfUMMLR UUUUfc"

more and realize how important each of us is to the whole pic¬
ture. We're thinking more of the big picture, rather than just
reacting to the heat of the moment. So where one of us used to
flair up about a certain part, now we'll bite our tongues and real¬
ize it wasn't necessary anyway; let's get down to what really
matters.

MD: Through the years, your setup has changed quite a bit.

RH: It's gotten bigger.

MD: Why do you add particular pieces?

RH: I'll add something for more choices in texture in the sound.
The notes you play is one thing—the sounds you play is another.
The more choices you have for different kinds of sounds, the
more you can make it interesting. You don't necessarily have to
pound everything all the time. The second hi-hat came from an
experiment when we were working out "Hate To Lose Your
Lovin'." Now the second hi-hat has become part of the kit
because we're always going to do that song. I enjoy the second
hi-hat, but I only use it on a couple of songs. I try to carefully
pick my spots.

I have found that splash cymbals are a really interesting color,

where you can keep the groove going and hit a couple of those
things to kind of announce the change from verse to chorus or
verse to bridge, without making a great announcement. They're
handy little things. Two, three, or four of them make for different
tones, instead of just one that you can only do the same thing
with.

MD: It seems that your cymbals are clamped down.

RH: The ride is the only one I really clamp down. The others I
clamp a little bit so that the edge of the cymbal will move about
four inches.

MD: How does that affect you?

RH: If your cymbals are moving around too much after you've
hit them you never get the part of the stick on the part of the
cymbal you want. It's tougher to be consistent and you have to
sort of aim. I don't like to have to even look at my kit. I like my
cymbals to be right where they're supposed to be when I hit
them. You can hit them two or three times quickly and they're
not going to move away from you.

MD: Does it affect the sound?

RH: Not that much.

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MD: You also sit very low at your kit.
Have you ever had back problems?

RH: Never. I like to sit low because my
center of gravity is lower and when both
legs are moving all the time, if I'm pushed
up higher, I tend to wobble. I don't feel as
secure sitting higher. For me, everything I
do comes from the solar plexus area—the
center of my chest—and I find that the
lower I am, within reason, the more stable
that is.

MD: Did you always sit so low?

RH: I've come down over the years. I used
to sit up high because I thought that was
how you were supposed to do it, since I
saw all these old jazz guys sitting up tall.
But I play a lot harder than the jazz guys.

The first time I sat at Jeff Porcaro's
drums, he was sitting way down and I
thought, "This is low," but after I played
them for a while, I thought it felt great. So
it's Jeffs fault! [laughs] I would think if
you're playing straight out from your chest,
arm level, you would have less back prob¬
lems than if you were hunched over the
drums, sitting high and playing down all
the time. I've been playing for forty-one
years and I've never had a problem. I set

Dixie S tickin ?

Here are the albums Richie lists as the ones
most representative of his drumming...

Artist

Little Feat
Little Feat
Buddy Guy
Little Feat
Robert Plant
Robert Palmer
Little Feat
Buddy Guy

Album Title

Waiting For Columbus
Ain't Had Enough Fun
Damn Right I Got The Blues
Let It Roll
Shaken 'N' Stirred
Pressure Drop
Dixie Chicken
Feels Like Rain

...and here are the ones he listens to most for inspiration.

Artist

Miles Davis
Peter Gabriel
Jimi Hendrix
Jimi Hendrix
The Meters
Rolling Stones

Album Title

Sketches Of Spain
So

Are You Experienced
Electric Ladyland
any

Beggars Banquet

Drummer

Philly Joe Jones
Manu Katche
Mitch Mitchell
Mitch Mitchell
Zigaboo Modeliste
Charlie Watts

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up my kit to get the most with the least
effort, so everything is in a very comfort¬
able place; things are all carefully placed. I
don't have to stretch to get to anything.

MD: Does your road kit differ from your
recording setup?

RH: Not for Little Feat. I record with the
whole road kit for Little Feat, except I'm
usually armed with fourteen or fifteen
snare drums and some different cymbal
setups for different songs. That gives the
songs unique identities. When I go in with
other people, I usually use less stuff.

MD: You also sing with the group. What
kind of vocal mic' do you use?

RH: I m still researching that. I'm using a
Shure mic' that sits on a boom. I have trou¬
ble with long mic's because my sticks are
flying through that area and I hit them all
the time. I even hit the little one I'm using
now. I don't like headsets because the mic'
is always right there and I make a lot of
noises when I'm playing, a lot of grunts
and groans and sometimes just plain primal
screams, [laughs]

MD: Another challenge of playing with
Little Feat must be in working with a rela¬
tively large band—seven people. Do you

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have any tips for playing with a large
group?

RH: Coexistence is very important. You
have to listen when someone speaks. Think
about what they're saying and what they're
playing and try to keep your mind open.
It's really important to pay attention.

MD: There's a lot of music flying around
the stage. Is there something particular
you're usually focusing on?

RH: That changes from moment to
moment. That's why I say it's important
for me to listen really hard to what's going
on with the other bandmembers. There are
core instruments at certain times in a song
that are really imperative to tie the groove
together. The bass, drums, and percussion
will always be the bottom, but there are
other instruments that enhance the groove,
which will be changing from song to song,
part to part.

Other than just playing the groove, I like
to kick with the soloist too. Once you get
that thing going with whomever is playing
the feel, I think it's really cool for the
drums to strike out a little bit and go off
with the soloist, as well as keeping it
together with the percussion and bass. I got
a lot of that from Mitch Mitchell because
he was really able to go out with Jimi and
still stay down there.

MD: Does the percussionist give you the
chance to express more?

RH: Definitely. Kenny [Gradney, bass]
and Sam [Clayton, percussion] are really
perfect for me. They like to play it really
down the middle, and I like to mess
around, [laughs] I love my job.

MD: Do you ever go too far out on a limb?
RH: Oh yes. The limb breaks! I've learned
to recover fast, and hopefully do so as
invisibly as I can. Sometimes you have to
just suspend all action for a second, listen,
and then come back in as if it were on pur¬
pose.

MD: Does that scare you?

RH: I have a lot of respect for the edge.
One of my main rules is don't practice on
the gig. I've learned that the hard way. I
have to know my limits, although I'm still
always pushing just a little bit. You don't
want to play it too safe either. You have to
strike a balance. It's great to take chances,
and a lot of my favorite licks were discov¬
ered by being so far out in trouble that
some accident happened that sounded cool.
MD: How does one play "Dixie Chicken"

every night and keep it exciting for so
many years?

RH: We change the arrangement a little bit
every year, and we never do it exactly the
same twice, especially in the solo parts.
What makes it exciting for me is that I
never know what Billy [Payne, keyboards]
is going to do in his solo, and it's fun to try
to follow it. Sometimes he goes to Venus,
sometimes it's Mars. That's a challenge.
Paul [Barrere, guitar] is the same way.

MD: There must be pros and cons to work¬
ing with the same musicians for so long.
RH: You can get insular. You can get to
the point where you don't grow anymore.
One of the benefits of this band is that we
all play with other people when we're not
working together, so we're always getting
fresh ideas and input from other musicians.
Everyone in the band is always looking to
grow, and I think that all shows in the
music. You have to allow all sorts of out¬
side influences, otherwise you'll turn into
your grandparents.

MD: Little Feat recently added a female
vocalist, Shaun Murphy. How has that
challenged or affected the way you play?

RH: It definitely gave the band a tune-up.
It's a whole new direction and approach. I
think Shaun's really exciting. She's more
R&B, blues, and rock rooted than Craig
[Fuller, former vocalist] was. He always
leaned a little more toward country. Shaun
has this knife edge to her performances
that's really exciting. As a person she's
added a whole spiritual uplift to the band
as well.

MD: There's a real urgency and excite¬
ment to the new album.

RH: That's how we feel now. The new
material is great, and it's the most fun I've
had in a long time. It's more up my alley.
It's exciting to play, and the band is having
a great time with it.

The new album is almost a live album in
the way that we recorded it. Most of the
instruments, including the vocals and the
solos, were recorded at the same time.
There are just a few keyboard overdubs
that Billy couldn't do because he only has
two hands. Unlike a lot of our other
records, it wasn't cut in a real L.A. studio
fashion, where a couple of core instruments
cut the track and then everybody sweetens

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it up.

MD: Are there songs on there that you're
particularly proud of?

RH: I'm real proud of the whole thing, but
there are some I am particularly fond of
playing. I really like "Driving Blind." It's
really fun and has a great drum part. I tried
to find a basic pattern for it that was eight
bars long and didn't repeat itself, some¬
thing that I could basically repeat through¬
out the song and embellish on in subtle
ways. "Cadillac Hotel" is a good return to
the old funky Feat stuff. That's really fun
to play. It has the half-beat shuffle thing
going for it, which is fun to play.
"Romance Without Finance" and "Cajun
Rage" are real New Orleans rooted stuff,
and that's always fun to do. You never
have to do it exactly the same way twice.

I'm very fond of "Borderline Blues,"
because it was written for [artist] Neon
Park, who passed away last year. He died
of Lou Gehrig's disease and he hadn't been
able to paint for the last four years. The last
painting he was able to do was specifically
for our record Representing The Mambo.
The new record is in memory of him, but
that song in particular was written for him,
which is why it is different from the rest of
the record. It's much more somber. The
drum part is a combination of the cymbal-
age that was on "Silver Screen" from the
Mambo record and a Peter Gabriel
approach for the chorus—no cymbals. I
simplified what Manu does with Peter, but
I like the way he can establish a really
exciting feel with just a tom/snare kind of
thing. I can't play like Manu, so I did my
own version.

MD: Of your whole body of work with
Little Feat, can you tell us three tracks that
would represent who you are within this
band?

RH: I'm real proud of "The Fan." That
was probably the most difficult thing I've
ever done. Lowell wrote that song in 1971,
and we tried for three albums to record it,
but it was so difficult we couldn't play it.
We would go into the studio and almost get
it, but it wasn't quite right. There are only
two bars of four in the whole song, and it
switches time signatures. Then we finally
did it live and figured that was the way we
could do it. Trying for four years on the
song helped us to finally get it. It turned
into something. It was really fun to play
and it took us to new places every time we

did it.

MD: Do you remember how your part
came about, other than just playing with
the rest of the guys?

RH: A lot of it had to do with playing with
the rest of the band, for sure. One of the
challenging aspects of the song was play¬
ing the fast 7/8 feel and improvising on it
under the solo. There's one phrase in ten
and a couple in what sounds like eight, but
it's really sixteen chopped up into different
segments. It got real interesting.

"Cadillac Hotel" on the new record is
really what Little Feat is all about. It has
that "Rock And Roll Doctor," "Dixie
Chicken" kind of feel. When Billy brought
it into rehearsal, it was like putting on a
comfortable old pair of shoes, but that still
had a shine on them. It's not derivative
enough of our old stuff to be the same old
baked potato—at least we hope not, any¬
way.

Other tunes that represent us could be
either "Rock And Roll Doctor" or "Fat
Man In The Bathtub." They were important
stepping stones in my growth because I got
to learn different ways to play 4/4 time,

different ways to enjoy a backbeat. "Fat
Man" was one of my first experiments in
second line. It began with that straight Bo
Diddley thing you hear in the intro, and
through the course of the tune, it changes
feel about six times. They're all at the same
tempo, but they feel completely different.
MD: How do you accomplish that?

RH: I don't do that alone. The guys all
have to be there to help me. I'm thinking
about what everyone else is playing and
how I can be there with them and tie it
together. The big question for me is how
can I be as creative as possible without
overplaying? That's been one of my
demons over the years.

I think of all sorts of different things
while I'm performing a song. Then I have
to sort out what to play. It's like when
you're trying to talk in front of your par¬
ents without cussing—you have to censor
what you're saying. That's kind of what I
have to do when I play, so it's good if I
play about one out of every three or four
ideas I get.

MD: Are there other pivotal tracks?

RH: I like "Mercenary Territory" from

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Waiting For Columbus too, because the
solo toward the end feels like a normal
thing, but it's actually in 10/4. It goes from
10/4 to what sounds like six, but it's actual¬
ly eighteen—three bars of six. Then the
body of the song is in four. It's cool
because it's symmetrical in that you can
divide it by two. The left hand is doing a
backbeat through the whole thing, but
everything else is playing these odd times.

"Representing The Mambo" was inter¬
esting because it was a style that I had
never tried—Latin-influenced jazz. That
was a whole new pair of shoes to try on,
which was fun. I used a piccolo snare
instead of a timbale. Since I knew I
couldn't step in there and play it like a real
guy, why even try? So I took their influ¬
ences and applied it to the way I feel. It
was an experiment by omission a lot of
times, to not play a backbeat at all and still
get the feel going, to let it percolate and
come up with it here and there.

MD: You've been spotted playing certain
live gigs with the band on a vintage kit.
How did that affect your approach?

RH: I got the vintage kit for our acoustic
shows that we did a couple of years ago.
New drums were too loud, too live, and
just too good for this type of thing. Plus, I
felt if I could get an old pre-World War II
Radio King drumkit, it would have a dead¬
er sound and match more with the tones of
the acoustic instruments. It also had a visu¬
al impact that made it seem more intimate
and casual, which was in keeping with the
whole atmosphere.

It seemed like a good idea at the time,
but they're really hard to play because they
set up real low. I had to make some adjust¬
ments. Plus, I only had one rack tom and
two floors. That set me off on a whole dif¬
ferent direction. On some non-Little Feat
gigs, and even some Little Feat gigs, I try
to set up with that little kit and return to my
roots for a while. No matter how big your
kit is, it's basically a snare drum, bass
drum, and hi-hat. If you keep that in mind,
you can keep yourself more centered than
if you have five tom-toms and two bass
drums and twelve cymbals.

MD: Let's talk about non-Little Feat infor¬
mation. You have such a defined style
within Little Feat, is it tough when you do
your outside work?

RH: It can be, but I try to go into the out¬
side work with as much of an open mind as

I can and try to apply my knowledge to
what they want. I don't go in there and
insist that it be my style. I like to go into
outside work with the attitude to learn. It's
really good for me to try to get into the
other people's heads and supply what they
want.

MD: Jim Keltner mentioned a Ry Cooder
album you worked on that blew him and
Ringo away.

RH: It was the first Ry Cooder album.
That was in 1970, and he was just setting
out. We did a bunch of real eclectic materi¬
al. We spent a long time in the studio
arranging the material. He'd come in with
an old Woody Guthrie song like "How Can
A Poor Man Stand Such Times And Live"
and we'd try to put a contemporary, but not
modern, arrangement to it. It was a fun
record.

MD: Where was Little Feat at that time?
RH: We were doing our first album. In fact
Ry played on "44 Blues" and "How Many
More Years" on our first album.

MD: So that was kind of a virgin Richie
Hayward.

RH: It was embryonic.

MD: What three tracks from non-Little
Feat material come to mind as ones you're
most pleased with?

RH: Any of the songs on the Damn Right
I've Got The Blues album by Buddy Guy. I
did that during the Gulf War in London.
Working with him was great.

MD: Why?

RH: Because of the giant "economy size"
respect I have for him as a blues icon, a
piece of American history, and an
American treasure. It was wonderful. He
was playing and singing live, standing
eight feet in front of the drumkit, and it
was really spontaneous. I got to really get
back to my roots. I did two albums with
him— Damn Right I've Got The Blues and
Feels Like Rain, which both got Grammies.

The Robert Plant stuff was interesting
[Shaken 'N' Stirred], a little less fun than
interesting. But it was interesting because I
was the only American in an English band.
They think differently, both personally and
musically, so I had to understand this
whole other approach to the music. It's
another culture.

MD: What was the music like for you?

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RH: Robert was obsessed with being modem at that time, which
was the mid-'80s. At that time English music had taken this unfor¬
tunate twist toward electronic and non-organic music. He wanted
to do that, but he had a bunch of guys in the band who were my
age and who grew up playing real instruments, so we were making
a compromise to be modern for Robert.

I added five Simmons pads to my kit, but I wouldn't replace the
kit. It was a compromise in one way and a challenge in another,
which made it a whole new thing. Musically that was really fun
and the guys were great. We had a ball working up the stuff. It
turned into something very different from anything I'd ever done.
MD: How were the songs presented to you?

RH: The songs didn't exist. We worked up the tracks and Robert
made up the lyrics and melodies and sang over them. Then we
went in the studio and recorded it. I think we worked the stuff up
for six months.

MD: Did you get song writing credit on that?

RH: Very little because the attitude about drummers is always,
"Okay, what part did you write?" I didn't want to get into the fight
of it, and I couldn't care less at this point.

MD: What other outside recording do you want to mention?

RH: I did a live album with Joan Armatrading that was a lot of
fun. It was called Steppin' Out, and it was early 79. They called
me to do a two-week tour and they recorded three nights. She
called me a week after I'd been in six months of traction, and six
months after they cut the body cast off. [Richie had been in a
motorcycle accident.] She asked if I was able to play and I didn't

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know if I could or not, but I lied and told
her I could. I was using a cane and my
right leg was about the size of my arm. I
could hardly walk, but I managed to bluff
my way through it and we ended up tour¬
ing for almost two years. That was my
physical therapy.

I did a bunch of stuff with Eric Clapton
for his most recent blues album, but only
one track of mine made it on the record,
which I'm playing washboard on, not
drums. That was a first for me. And then I
had to follow it up and play the tune live
with Clapton at Albert Hall, in a suit,
which was strange. But for the record, we
cut the stuff three or four times, and then
after I had gone, he re-recorded it with Jim
Keltner. Eric wanted to do it like a real
blues record, with live performances. He
didn't want to do any vocal or guitar over¬
dubs, and he was hyper-critical of his own
performance. He would throw out versions
that I thought were great because of one
bad note in the vocal, which is not quite the
way the blues guys did it. [laughs] But it
was great working with him.

MD: When you talk about the life of the

session drummer, have there been any
tough moments in the studio?

RH: [laughs] Maybe here and there. In the
early days with Little Feat, there were
some very tense moments in the studio.
Those days are over. There are a lot of
tough moments in the studio when you're
working out songs and taking chances. It
depends on how nit-picky the person
you're working with is. A lot of times
you'll go into a session and the band will
start to really cook, but the artist and the
producer will take out all the stuff that
makes it exciting. It's hard to bite your
tongue and not say anything, but you know
darn well they don't want to hear it from
you.

MD: You've actually had some tough
moments in life. You mentioned your sec¬
ond motorcycle accident before working
with Joan Armatrading. That was a bad
time for you.

RH: I was riding over from a sound check
from the solo tour that Lowell didn't make
it through. I got forced off the road, and
while I was laying on the side of the road,
bleeding and with a broken leg, a couple of

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guys pulled over and said, "We don't think
you're going to need this," and they threw
my motorcycle in the back of their pickup
truck and took off. I think it was really my
guardian angel with a sense of humor. I
was out of commission for a year—six
months in traction and six months in a
body cast. It was definitely my lowest
point. Two weeks after the accident,
Lowell died. My first marriage was going
down the tubes, and I felt robbed. I wasn't
even able to play the memorial concert for
Lowell. I was very down and got into drugs
real hard for a couple of years. I was angry.
MD: How do you pick yourself up from
that kind of low?

RH: As long as you're alive, there's hope.
Having people you love and who love you
helps. At the point when I was at my low¬
est, I got the call from Robert Plant. I
wasn't getting any work here and he hired
me. He hadn't heard the stories, I guess. I
went over there with the determination to
put my life back together. I feel real good
about life now. So whenever you're really
down, don't do anything rash, because
something great may happen. ^

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HIGHUGHT5 of

Modem Drummer's Festival Weekend '95—
held on Saturday, May 20 and Sunday, May
21—surpassed all previous Festivals in its
level of enthusiasm and excitement. The
show was the fastest sellout in Festival his¬
tory—a testament to its appeal to drummers
of all experience levels and musical inter¬
ests. For the eighth time, Montclair State
University in Upper Montclair, New Jersey
saw travelers from across the U.S. and as far
away as Norway, Israel, and New Zealand
gather together to enjoy the educational
value and the camaraderie of this singular
drumming event.

MODERN

•■•DRUMMER'S

FESTIVAL

PHOTOS BY EBET ROBERTS

The show got off to a rousing start with the return of Hip Pickles.
This unique drum-corps quartet floored Festival audiences at their first
appearance in 1993—and their 1995 performance took the intensity up
a notch from there. Combining the blazing technique ofrudimental
corps-style drumming with world percussion, crowd-pleasing theatrics,
choreography, and no small amount of humor (a cymbal-oriented piece
was titled "Mom's Apple Paiste"), the group received three standing
ovations!

Led by Chet Doboe (on snare drum), Hip Pickles also featured Gary
Gonzalez (snare), Chris Scherer (multi-toms), and Chris Lopez (tri¬
bass). Together, these four talented gentlemen amply demonstrated how
technique and imagination can be combined to create a totally original
concept in drumming performance.

Hip Pickles appeared through the courtesy of Pearl Drums, Paiste
Cymbals, Pro-Mark Sticks, and LP Music Group.

MODERN DRUMMER OCTOBER 1995

Mike Portnoy of Dream Theater was the first drumset artist on the pro¬
gram. Mike took the stage casually (after being presented with plaques
commemorating his MD Readers Poll wins in the Progressive Rock and
Recorded Performance categories), then proceeded to astound the audi¬
ence with his power, creativity, and musicality. Literally surrounded by his
massive drum and percussion array, Mike soloed with fire and intensity,
yet also displayed the precision and careful crafting that have made him

such an important figure in progressive rock in such a short time. Warm
and articulate, Mike fielded questions about his band, his career, and his
playing philosophy. He then concluded his performance by playing with a
high-intensity recorded track—leaving the audience shouting for more.

Mike's performance was sponsored by Mapex Drums and Sabian
Cymbals.

MODERN DRUMMER OCTOBER '995

c?!>zzmO ooo^zra^

In order to present their performance in a musical context, past
Festival drummers have played to recorded tracks, to sequenced materi¬
al, or with accompanying musicians. The astounding Kenwood
Dennard simply did it all himself! With unbridled enthusiasm
Kenwood divided his limbs among the drums and several keyboards,
while singing, chanting, or talking at the same time—a concept he has
dubbed the Meta Rhythmic Orchestra. Audience members marveled at
Kenwood's ability to establish grooves and play impressive solos with¬
in the framework of complete compositions. They were also impressed

by the depth of his philosophy, which he expressed both verbally and
musically.

To top his performance off, Kenwood leaped from the drums into the
aisle of the theater. From there he led a thirteen-piece percussion
ensemble (dubbed the Meta Rhythmic Troupe) on stage to accompany
him in a final number that raised the roof of the theater.

Kenwood appeared through the courtesy of Pearl Drums and Technics
Musical Instruments.

MODERN DRUMMER OCTOBER 1 995

Steve Smith came on stage to a standing ovation, and proceeded to
absolutely astound the audience with his combined technical abilities
and sense of musical history. Set up sideways so as to be more visible,
Steve discussed his concept of "American music" and the various styles
represented by that term. Enthusiastic and articulate, Steve played
extended solos in each of the styles he had discussed. Those included
straight rock, African-oriented 6/8, funk, and an incredible tribute to the

big band drumming of Rich, Bellson, Krupa, and Webb (complete with
hi-hat fanning, stick twirls, and fiery single-stroke patterns). The audi¬
ence was left in awe of Steve's versatility and talent—and once again
rose to their feet at the conclusion of his performance.

Steve's appearance was sponsored by Sonor Drums.

MODE RH DRUMME R OCTOB E R 1995

Saturday's show came to a tasteful conclusion with a stellar perfor¬
mance by the Peter Erskine Trio (with Alan Pasqua on piano and
Marc Johnson on bass). After receiving his Readers Poll award for
Mainstream Jazz Drummer, Peter quickly demonstrated why he
received that honor. Blending creativity, musicality, and respect for tra¬
dition with unparalleled technique and his own inimitable style around
the kit, Peter alternately supported the group and drove it to ever-

increasing heights. Stressing variety in dynamics and mood, the trio was
warmly received by the audience. And when Peter took center stage for
his concluding solo, the audience rose as one to display their admira¬
tion, respect, and enthusiasm.

Peter and his band were sponsored by Yamaha Drums, Vic Firth
Sticks, Evans Drumheads, and Shure Microphones.

MODf R N P RUMMt a OCTOBER 1 ^5

LP's

LATIN PERCUSSION ENSEMBLE

Sunday's show was opened by the LP Latin Percussion
Ensemble—an all-star group consisting of Marc Quinones and Bobby
Allende on congas and timbales and Tony Cintron on drumset.
Performing as a group and in solo spots, the ensemble ably demonstrat¬
ed how Latin percussion grooves can be structured so as to establish a
rhythmic foundation for a wide variety of music. The group had the

Festival audience dancing in their seats by the time guest artist Manny
Resto was introduced. This six-year-old prodigy proceeded to tear the
house down on congas—ably representing a generation of percussion¬
ists to come.

The LP Percussion Ensemble was presented by LP Music Group.

MODERN DRUMMER OCTOBER 1995

STEPHEN PERKINS

Stephen Perkins was the most eclectic artist of the entire Festival.
After presenting Modern Drummer with a plaque from the House Ear
Institute (in honor of MD's support for their hearing-protection cam¬
paigns), Stephen began by playing a haunting melody on a wooden slit
drum. From there he moved to his extremely non-traditional kit. which
combines kit drums with a conga, bongos, and a remote-pedal-tunable
timpani! Later he shifted to a percussion setup created from pipes,
grates, a metal cart, and a 30-gallon trash can. Stephen's point was to
demonstrate how original and creative percussion can be—a point he

also expressed articulately during his question-and-answer period.

Playing with technical ability, conceptual originality, and emotional
abandon, Stephen both entertained and inspired the crowd. He conclud¬
ed his set by inviting over a dozen audience members on stage for a
drums-and-percussion jam underscoring the community spirit inherent
among drummers.

Stephen appeared through the courtesy of Drum Workshop and Pro-
Mark Drumsticks.

MODERN. DRUMMER OCTOBER 1995

Contemporary fusion and funk drumming was well represented by
Rayford Griffin, who greeted the audience politely and quietly, and
then proceeded to knock them out with his fluid yet aggressive style.
Referencing his work with Jean-Luc Ponty and other fusion artists,
Rayford explained his concept of playing polyrhythms musically while
still maintaining the fundamental groove. As smooth and confident on
the microphone as on the drums, Rayford also entertained the crowd
with repeated evidence of his wit. (When, during the question-and-
answer period, a disembodied voice came over the P.A. system saying,

"This is God," Rayford immediately quipped: "No it's not. God has a
deeper voice—and reverb.")

Combining technical facility with a style and feel all his own,
Rayford left an indelible impression on (and ellicited three standing
ovations from) the Festival audience. His appearance proved to be one
of the high points of an already stellar show.

Rayford's performance was sponsored by Starclassic Drums and
Paiste Cymbals.

MODERN DRUMMER OCTOBER 199S

ALAN WHITE

Progressive rock veteran Alan White treated the audience to a solid
display of solo technique, combined with the creative use of Yes tracks
triggered from a trapKAT. Alan's playing displayed the combination of
inventiveness, finesse, and power that has driven his multi-platinum
band so successfully for over twenty years. He also spent a good deal of
time fielding questions about his work with the band, and about his
playing with John Lennon, Joe Cocker, and other artists. Later, he both

discussed and demonstrated the way in which he creates the drum parts
for Yes's complicated and innovative compositions. His concluding
solo left an appreciative audience on its feet yet again, in an unabashed
display of admiration.

Alan appeared through the courtesy of Ludwig Drums.

MODE RN D R U WME R OCTOBER | V?5

The Festival concluded with a high-energy
performance by Gregg Bissonette & the
Mustard Seeds. The group's talented lineup
included George Bernhardt and Doug Bossi on
guitar and Gregg's brother Matt on bass. From
the moment the band kicked off, the collective
and individual enthusiasm of these four gentle¬
men literally radiated from the stage. In addi¬
tion to several of challenging instrumental
pieces, the group added a new dimension to
Festival finales by doing a number of vocal
tunes. Gregg—whose irrepressible personality
projected to the last rows of the theater—pro¬
pelled the band with his trademark musicality,
power, and drive. His solo left jaws agape and
heads shaking, but it was the group's encore-
humorous pop-quiz medley of "classic drum
intros"—that provided the perfect close to the
weekend's performances.

Gregg and the Mustard Seeds were co-spon¬
sored by Slingerland Drums and Zildjian
Cymbals.

GREGG BISSONETTE

Over the course of the Festival, audience members were given the
opportunity to win thousands of dollars' worth of door prizes, including
snare drums, cymbals, hardware, microphones, videos, and a wide vari¬
ety of accessory items. MD also continued its tradition of recognizing
drummers who traveled the farthest distances to reach the Festival by
presenting them with "Duron Johnson Commemorative Long-Distance
Traveler Awards" (named in honor of the Anchorage, Alaska drummer
who has never missed a Festival). And on Sunday the editors of MD
were honored to be able to present 1995 Editors' Achievement Awards

personally to teacher, publisher, and inventor Henry Adler, and to
Carol Calato on behalf of her father Joe Calato, inventor of the nylon-
tip drumstick and founder of Regal Tip sticks.

Many of the Festival performers—as well as a host of visiting drum
stars including Festival alumni Joe Morello and Adam Nussbaum—
spent time with the audience signing autographs, offering tips, and
sharing the good feelings that are always a part of this annual get-
together of the drumming community. A good time was had by audi^
ence and performers alike. |««|

MODERN DRLVWIR QCTG3E3 1995

The Modern

The Great Jazz Drummers

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When In Doubt* floli*

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Transcriptions of ■ 8 of Bruford's greatest
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drumset

.tfipliecf Khtfthins

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The .Yt'ir Breed

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This is rtot [ust another drum boak r but rorher a
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Best Of >ID; Hark

Everything from linear drumming, ploying n
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Neil Peart's advice an creabng □ drum &glo

Best Of HD. Volume 2

The BeH Of Modem Dfummet <s jam-packed
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examples, If you've missed any of .VI D.
The Best Of Modem Drummer brings it all
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The Electronic Drummer

by Neuman Weinberg

From simple uses cl electronics to complex
setups, this book wifi tell you v^hat you need io
know in stroighttorword. “user-triendfy"
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Drum Wlpisom

by Sob Moses

Here rs O' dear preservation of ihe unique and
refreshing concepts of one of the ,v nast
exceptional drummers of out rime.

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MOD12!

Tbe Cranberries’

F ergal Lawler rips off his shirt, spraying sweat in
all directions, as he pounces on the groove to
"Zombie" from the stage of Syracuse's
Landmark Theater. As petite singer Dolores O'Riordan
hoarsely wails the chorus, "In my head...," Lawler
delves into a rhythmic trance all his own. Body bounc¬
ing, arms flailing, head rocking, mouth agape, the
curly haired drummer seems possessed, his lean
torso lurching to and fro like the single hand of an
unseen, inner clock. As the song repeats the verse,
Lawler flashes a quick smile at bassist Mike Hogan,
the pair effortlessly locking in over the hi-hat pulse,
which, though not slick-studio clean, is visceral and
raw, as befits the mega-selling song. Tonight the
Cranberries will play all their hits: "Ode To My Family,"
"Dreaming My Dreams," "Linger," and "Still Can't..." as
a screaming audience erupts at each opening note.

Backstage after the show, Lawler clowns around
with drummer Joey Peters, from opening act Grant
Lee Buffalo, while ignoring taunts from Dolores about
"beating on elephant's skins." Fergal is relaxed and
cheerful, even though the Cranberries will be leaving
shortly on yet another long bus ride on this seemingly
never-ending tour. But having worked a variety of odd
jobs in Limerick, Ireland for most of his teenage
years—from hairdresser to a janitor at a Stop 'N'

Shop, the twenty-four-year-old drummer is gratefully
sitting on top of the world as a member of a group
whose recent second album, No Need To Argue, has
sold over five million copies.

The Cranberries' blend of melancholy melodies and
powerful pop aura, initially heard on 1993's Everybody
Else Is Doing It, So Why Can't We?, has made them
the biggest band out of Ireland since U2. But even
more than that band, the Cranberries' dark, wistful
Irish lilt has allowed them to breakthrough stifling cat¬

egories. They've reached out to a musically bipartisan
audience that is simply seduced by the mystery of
their heartfelt songs and by the brooding charm of four
close-knit musicians who have seemingly blasted out
of nowhere. The son of a flower shop owner and an
airport worker, Fergal Lawler played drums with broth¬
ers Noel [guitar] and Mike Hogan [bass] fora couple
of years before finding Dolores O'Riordan. Something
magical must have happened, because within a short
period of time a bidding war among London-based
record companies broke out over the band.

With big hands that carry blisters as road scars,
Lawler's style grew out of techno and '80s rock, and
his own generously tasteful approach. Always aiming
to color a song rather than brand it, Lawler listens
intently to the music—often with eyes closed—to find
the perfect part with just the right nuance. His is a nat¬
ural talent, developed through close friendship with
the other Cranberries and a desire to give their engag¬
ing songs a quality of lushness, whether it's the haunt¬
ing din of "Zombie," the gentle jig of "Linger," or the
funky accents of "...Be With You."

Ireland has an ancient musical tradition based on
the dark beauty of the land and centuries-old folk tra¬
ditions. Lawler seems to draw on that timeless tradi¬
tion, his drumming being a palette of atmospheric
cymbals, popping drums, and evocative percussion.
Resembling a cross between Stewart Copeland and
U2's Adam Clayton, the self-effacing Lawler doesn't
accept compliments well, preferring to focus on the
music.

Like a handful of drummers before him, from Ringo
to Copeland to Dave Grohl—musicians whose role it
is to grace million-selling songs with rhythmic thrust—
Lawler knows how to add his own design to a sound
embraced by the world.

KM: Are you primarily influenced by
music or by musicians?

FL: I get into the band first, then after a
while I may like the drummer. It's more
musical. My influences include Stewart
Copeland, definitely...and I used to lis¬
ten to Sting's stuff after the Police,
which is where I started to get into Manu
Katche. And Dave Palmer of the The is
great. He's one of my main influences. I
just think he is really solid.

I don't like the shapers, the posers
(imitates drummer rolling around many
toms), the ones who play all over the
music. I don't like that kind of style
where drummers play a lot of patterns,
trying to show off how fast they can
play.

KM: Your use of splash cymbals and
space within a groove reminds me of
Manu Katche, but in concert you play
really hard—it's like Dave Grohl meets
Stewart Copeland.

FL: [smiles] Well, that's a serious com¬
pliment. Thank you. I do get really car¬
ried away...I get into it. Some of the
songs are really angry. I'm really pas¬
sionate about what I'm doing—even if
the playing sometimes suffers because of
it. But I don't mind, it's a big adrenaline
rush and I get totally carried away.

KM: On the records you're very tasteful.
FL: I have to calm down a bit there to
concentrate more on what I'm trying to
play style-wise and how I'm going to hit
things.

KM: It's interesting the way you and
bassist Mike Hogan interpret the music.
If the Cranberries were an American
band you might take a more obvious,
harder approach, but you've stylized the
rhythm section with a subtle funk atti¬
tude.

FL: Mike and I have been friends for ten
years, and this is really the first band any
of us have been in. I got my first set of
drums six years ago for Christmas and
Mike and [guitarist/brother] Neil got
their instruments a few months later. We
started playing then and just grew togeth¬
er. We didn't have any lessons, and we
couldn't play any covers, so we just
started playing bits and pieces.

KM: Were you doing harder stuff or

MODERN OftUMMEft OCTOIER 1995

"IT'S HARD FOR
A DRUMMER TO LAY
OFF ON A TUNE,
BUT SOMETIMES
IT SOUNDS SO
MUCH BETTER
WHEN YOU DO."

Lawler's Setup

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more moody material like the
Cranberries?

FL: It was close to what we're doing
now, and some of it sounded like New
Order or Joy Division meets the Cure.
That's what we listened to back then.

KM On songs like "Yeat's Groove" and
"Disappointment" you and Mike play
counter-rhythms, or you'll put the snare
on beat 3 instead of 2 and 4. Did that
grow out of the techno-dance styles of
those bands?

FL: It grew out of everything we've
heard. I quite enjoy Rob Ellis, the drum¬
mer who used to play in PJ Harvey [cur¬
rently with England's experimental
Laika]. He's one of the most amazing
drummers I've heard in my life, the way

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Drumset: DW

A. 9 x 13 tom

B. 4 x 14 brass piccolo

C. 8 x 10 tom

D. 10 x 12 tom

E. 12 x 14 tom

F. 16 x 20 bass drum

Cymbals: Zildjian

1. 10" A splash

2. 10" EFX 1 splash

3. 14" Quick Beat hi-hats

4. 17" Rock crash

5. 18" Rock crash

6. 18" Rock crash
(lower in pitch than #5)

7. 22" Rock ride

8. 20" Z China

AA. LP mounted tambourine
BB. LP Hard Rock cowbell

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he does things off time. I'd like to get into
more of that eventually.

Technically, I don't really have a clue
half the time. I just kind of close my eyes
and listen and eventually start working
things out. I'll have someone tape the
soundchecks, and then I'll listen back and
get ideas. When we're playing the show
it's kind of hard to think over the volume
and the crowd.

KM: The band works up new material at
the soundchecks?

FL: Yes, that happens all the time.
Someone starts playing, Dolores sings
whatever comes to her until she can com¬
pose proper lyrics, and we have the begin¬
nings of a song. Sometimes she will come
in with the chords and the lyrics, pretty

much the bulk of the song, but sometimes
we make it up at soundcheck. We just all
join in. Dolores is the voice, but we're her
backbone. It's definitely a band thing.

KM: So the songs almost compose them¬
selves sometimes.

FL: Mmmm...yea, these days. Some songs
[snaps his fingers] are just like that. Others
are a bit of a hassle, you have to work on
them day to day.

KM: So you hone your part as the song
develops.

FL: Exactly. I get the main rhythm in my
head and then decorate it from there. I love
decorating things.

KM: How else do you create a drum part
to fit a new piece of music?

FL: It depends on who writes the song. If

MODERN DRUMMER OCTOBER 1995

DIDN'T WE JUST SAY SO?

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since the eighties! Want names (■ Ik's recorded for John AUtktuamr. Hoi* Dylan,
John Bon lovi Elton fobrj, Bek Sega; Meat Loaf. Chris Isaak, ami many,
maw more. And he s toured wtih most of them, lee. Kenny was also voted
best Fop/Rode drummer p?^ the readers of "Modem Drummer n magazine
four times in a tqvp. On top of if alt Kenny teaches at the University of
Indiana where he passes his craft on to future pro s. Of course, a live ivitl- tike
Kenny needs reMethk equipment. Luckily for km, he can get anything he
wants. Anything at ait But experience- tells him to go for the best. Kvnw
chooses Atsini Percussion for his hag of tricks . You know wltdti- do should you!

Aleirtl Percussion - MW’ audible difference!

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it's Dolores, then I cue off of her. If Noel
writes it, then I cue from his guitar. It usu¬
ally starts with guitar, though, and that's
where I get the rhythm from.

KM: The drum pattern in "Everything I
Said" is unusual, with that neo-clave on the
snare drum.

FL: That's fairly old. We'd been touring
Europe and it just came about on a sound-
check. It's just three beats in a row, but it
fits the song really well.

KM: I notice you'll use mallets, multi¬
rods, sticks, and sometimes even have a
stick in one hand and a mallet in another.
Does coloring the music with different tex¬
tures come naturally to you?

FL: I always loved getting unusual sounds.
That's why I try to incorporate the mal¬
lets—it makes the toms sound so full. They
sound very different. Our sound man likes
the multi-rods, so I wrap them with
gaffer's tape so you can hear them in the
bigger halls.

KM: Is this a democratic band? Do each of
you make suggestions regarding the other's
parts?

FL: Now and again, but most of the time
we're left to ourselves. When someone
starts playing, you pretty much know what
to play. All of our songs are based on emo¬
tions—some are sad, some are angry, oth¬
ers are happy or upbeat. You can get the
gist of a song by closing your eyes and lis¬
tening to it for a few seconds. Some songs
might demand a tom-oriented groove or a
darker, China-cymbal sound. It's all based
on feeling.

I get the biggest buzz coming up with
new songs. That's the most challenging
thing. Playing live is great and it's really

physical, but the studio is more about using
your mind.

KM: Does the band rehearse a lot when
you're off the road?

FL: We're almost never off the road.
We've been on the road almost nonstop for
the past three years. We had a month off
after recording No Need To Argue, and we
just went home. Most of the time touring is
great, but we're starting to get a bit pissed
off now—we're beat. We started this tour
in July of '94, had off for Christmas, and
that was it. On our days off during a tour
we try to check out the town. Yesterday I
bought a Gretsch snare drum for $50 from
the House Of Guitars in Rochester.

KM: Is the new material closer to
"Zombie"? Is it heavier?

FL: We have seventeen new songs, and
they're all different. Some are laid-back,
some have more of a "Zombie" edge.

KM: Do you play hard in the studio as
well as on stage?

FL: Yes, but it's more solid. Live, I just let
go, sometimes too much. But after so much
touring my playing is much more solid.

KM: Mike and Neil Hogan are subdued on
stage, and there are no guitar or drum
solos.

FL: We all hate solos—guitar, bass, or
drums. The lads do riffs that are part of the
melody, but none of us like that Van Halen
shit. That's fine for them, but not for us.
KM: When you're performing live, do you
maintain the same tempo as on record?

FL: It varies. I used to be really bad about
speeding up. I was getting carried away.
Now some songs are faster and some are
slower than on the records. After a while
you get into a habit of playing a song at a

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certain tempo.

KM: Singers can be demanding about
tempo. Is Dolores a stickler for exact tem¬
pos?

FL: If she can't catch her breath, then the
song's too fast. I understand that. I sing all
the songs to myself most of the time, and
that's how I know where I am within the
song. And Dolores is a wonderful singer,
her sense of time is amazing. We all click
together as people and as players, and
that's why this works. I think people can
relate to our music, even a song like
"Linger." We get a lot of mail from people
who understand the feelings and the pas¬
sion behind the music. Dolores writes
about everyday things, but she's not afraid
to say what she feels, and that connects
with people. She knows how to put it into
words—it's magic.

KM: A lot of Irish music, even back to
Gaelic times, is very brooding, mysterious,
and beautiful. Is it that soulfulness that
appeals to people?

FL: Well, the Irish are all very passionate
people. For thousands of years there have
been musicians, poets, and artists—every
single person in Ireland plays a musical
instrument. It's crazy, especially in the
summer when there are festivals. People
line the streets with instruments. Any pub
will have people playing music. There are
so many bands when you consider the size
of the country.

KM: I heard the band playing an Irish jig
during soundcheck.

FL: Some of it's okay. I like to hear it in
bars, but I wouldn't go out and buy a
record. I've heard that stuff all of my life,
so I can play it if need be.

KM: Was No Need To Argue easier to
record than the first one?

FL: We knew a bit more of what we were
doing this time, definitely. The new one is
a lot better than the first, but I'm still not
happy with some of the sounds. But that's
what keeps you going. Each one gets a lit¬
tle better.

KM: If the Cranberries is your first band,
how did you learn to play?

FL: I used to watch Boris Williams of the
Cure in their Orange video, basically try¬
ing to learn his beats on that. And I liked
Stephen Perkins from Porno For Pyros.

When I got together with Neil and Mike,
we rehearsed at my house. Back then we
called ourselves the Cranberry Saw Us.

Before Dolores, we played with this guy
who sang with us for six months.

KM: Do bands form in Ireland for the
same reasons as in the U.S.?

FL: I guess so; you have the ones who love
music, and then the posers, who just want
to be famous and be on the cover of a mag¬
azine. Actual fame is a pain in the arse,
something I still don't like, [scowls] We
were all so very shy, on the first gig we
played we just kept our heads down. We
played six songs and ran off the stage. I
used to actually get sick from stage fright. I
got sick for the first couple years, but now
I get a great buzz from it.

KM: Are the other members of the band
moody people?

FL: All four of us are. I have my moods,
but I try to be social. And when you get to
know the rest of the band, they're lunatics.
We've been touring together for the last
three years—together every day—and all
the crew are very close as well. It's like a
big party on the road. It keeps you going.
Everyone has a good sense of humor, and
that helps keep you sane.

KM: This is your fifth tour of the U.S.
What has surprised you?

FL: Back home everything is laid-back,
but here it's go, go, go. I don't watch TV
here anymore, I can't handle it. It does my
head in. There are too many advertisements
on TV—buy this, buy that—it drives me
nuts. I watch movies instead.

KM: How has such worldwide, platinum
success affected you?

FL: It hasn't really. Living in Ireland, we
have the same friends we always had. The
only people who hassle you are the ones
who never knew you in the first place.
They have an attitude. We switch off this
whole trip when we go home. We're just
normal people. I don't think we could do
that if we lived in New York or London.
We'd be hanging out with all sorts of
bands, and it would probably affect our
music. But in Limerick nothing ever
changes, we can still be ourselves. I mean,

I still live with my parents, I haven't even
had time to buy a house. It's hard to plan in
advance.

KM: You did plan in advance for your
filming of MTV Unplugged. That was a lit¬
tle different.

FL: We played at the Royal Albert Hall.
We opened up in black suits and tails and
then changed, came back, and rocked out.

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KM: Why do you play DW drums?

FL: I started off with Pearl, but the DWs
are like old-fashioned drums, like Gretsch.
The way you can set them up is very easy,
and the hardware is nice and light, but
strong—not big and awkward like some
drum companies' equipment. And the
sound is wonderful—really sweet.

KM: Color is such a big part of what you
do. Did it take a while to find the right
cymbals?

FL: Yes. I used to have dark crashes and a
very dry, dead-sounding ride. My new ride
is perfect, and the crashes have a nice ring.
KM: Are there certain songs you look for¬
ward to playing every night?

FL: I love "Daffodil Lament." That's the
one I play with mallets. That song has so
many dynamics and different parts, it's like
ajourney.

KM: Do you ever have trouble finding a
part that works?

FL: I used to play "Dreaming My Dreams"
differently. I used the bass drum more to
give it a driving feel, but Dolores wasn't
happy with it. So I cut it out and now use a
tambourine. Around the tambourine I'll
color with toms and cymbals. A lot of it is
just experimentation.

Some songs can take a lot of work; it
varies. "Disappointment" was written
about three weeks before it was recorded.
We had no chorus, but we just jammed in
the studio and it came. Often we'll get
things in the studio. When we hear all of
the instruments sounding so amazing, it
inspires us.

KM: If a song is really good is it easier to
find a part?

FL: Yes. The simple songs are the best.
That's why I don't like flashy drumming
with solos, because it tends to drown out
the quality of the song. Some songs sound
great with just a hi-hat and snare and noth¬
ing else. It's hard for a drummer to lay off
on a tune, but sometimes it sounds so much
better when you do. The song is the most
important thing—not one musician, but the
whole band. We're not trying to impress
each other, we're trying to play music.

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MODERN DRUMMER OCTOBER T995

Hock Perspectives

by Rob Leytham

Bill Bruford is one of the most innovative
drummers who has ever been recorded. From
his unique snare sound to his exploration with
electronics, Bruford is a drummer who is
always trying to create new sounds and
rhythms. He's played some of the most
incredible and musical drumming ever heard.

On Bruford's latest Earthworks release, Stamping Ground, Live
he plays a dazzling solo in the song "Bridge Of Inhibition." In this
solo, he incorporates his electronic set with his acoustic kit while
keeping a repeating quarter-note-triplet feel going with his bass
drum (here notated as dotted-8th, 16th, and 8th note). This article
incorporates that style of ostinato playing.

In the exercise we will play "fours" using the ostinato. In play¬
ing "fours," it will be as though we are playing in a jazz setting. A
melody or solo is played for four measures by one instrument and
then repeated in a solo form with the drums. In this exercise, the
melody will be played on the snare while keeping an even 8th-
note rhythm on the ride cymbal. It will then be repeated in accents
over 16th notes. All of this will have the underlying ostinato
pattern played on the bass drum.

First, you must learn the pattern with the feet. The hi-hat will
play on the quarter note throughout the exercise. The bass drum
will play on the dotted 8th note followed by a 16th, then the
second 8th note of the next beat. It will be counted "1, ah, &, 3,
ah, Repeat this pattern several times until you are able to play
it comfortably.

toU5IC KEY

Now play the first four measures of the following example,
where the previous pattern is played underneath the snare drum
playing the melody. The following four bars have 16th notes
being played, accenting the 8th-note melody from the previous
four bars. There are three sections of "fours" played. The first sec¬
tion deals strictly with 8th notes. The second group begins to
include 16th notes, and the third has even more challenging
groups of 16ths.

Next, start playing the related solos after keeping time. Learn
the solo by just playing the accents, so you can hear the melody
being played. Once that is mastered, there are several ways of
playing the accents around the drumkit. If the accent falls on the
right hand, strike the floor tom. If it falls on the left, strike the
high tom. All unaccented notes will be played on the snare. If you
have two crashes or China cymbals, you might replace the toms
with those. Also, challenge yourself by flamming all accents
between a snare and a tom-tom. This will ensure that there is a
snare on each 16th note. Again, all of this will be played over the
repeating bass drum pattern.

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rummer's
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Rock W T $ozz ClJjuc

The "3 Hands" Concept

by Jon Belcher

MUSIC KEY

Ever wish you had three hands? If you play
drumset, the answer, of course, is yes. The
concept of using a foot as a third hand has
been around for some time. Used for linear
fills and solos by drummers such as Steve
Gadd and Dave Weckl, its origins can also be
heard in the work of Ginger Baker, Elvin Jones, and Sam
Woodyard (with Duke Ellington).

The following exercises use the bass drum (right foot) as a
"third hand,” while the hi-hat keeps time (left foot).

The first example is probably the most commonly used "3
hands" variation. Repeat the exercise using "right foot, left hand,
right hand" as the "sticking" pattern. The hi-hat is played on "2"
and "4" with the left foot.

3 3 3 3

R L K L R L R

When you are comfortable with the previous exercises, try using
them as fills at a medium swing or shuffle tempo.

In the following three exercises a funk groove sets up one-mea¬
sure fills using "3 hands" variations. Play the groove for three
measures to create a musical phrase completed by the fill. (Note:
The "stickings" for these exercises are built on the stickings from
the previous exercises. Keep the quarter-note pulse on the hi-hat
with your left foot.)

Next is an alternative sticking for the first exercise. The advan¬
tage of the alternative stickings will become evident when we look
at their melodic potential.

3 3 3 3

RL EL R L ftL

The following two examples shift the bass drum from the first
note of each triplet to the third (a common syncopation). The sec¬
ond exercise reverses the hands for the alternate sticking.

3 3 3 3

L R IK LR L ft

3 3 3 3

R L R L R L R L

The next two exercises shift the bass drum to the middle note of
each triplet.

3 3 3 3

L R L K L k I R

G

LR. LR LR LR LR LK

LR LR LR LR LKLR

L KL R L RL El. Ft
Here is a short solo that uses some of the melodic potential of

.vjqkrnj drlmuer ocroeE^ \

Be sure to keep the quarter-note pulse on the hi-hat with your
left foot. This will ensure steady time and improve your four-way
coordination. "Feel" the bass drum against the hi-hat, but put equal
emphasis on all your limbs. The melodic potential of this concept
is endless. Apply it to your kit with imagination and see where it
goes. Enjoy!

Jon Belcher is a clinician for the Ludwig Drum Company and the
author of Drumset Workouts [Polyrhythms And Independent
Coordination Applied To Contemporary Grooves] now available

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MODERN DRUMMER OCTOBER 1995

'Drum Sole*/st

Paul Motian: "Israel"

Transcribed by Steve Korn

MUSIC KEY

This month's Drum Soloist features Paul Motian from the classic 1961
Bill Evans recording Explorations. It's a great example of the influence
Max Roach had upon Paul at the time—specifically his sense of phrasing
and motivic development—yet it suggests the direction Paul was heading
in his expression of time.

The following two twelve-measure breaks feature Paul playing brush¬
es. In these solos the phrasing goes back and forth in a very musical way from swing to straight
8ths. Also note Motian's use of the hi-hat as a melodic voice, rather than as timekeeper.

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MODERN DRUMMER OCTOBER 1995

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The Only Serious CIuhcc,

Syncopation Accent Exercises: Part 2

by Dave Hammond

Last month we began to explore ways to develop hand technique through a series of exercises, which also give you an idea of the variety
of ways to musically interpret rhythmic phrases. As mentioned last month, the rhythmic phrases or song needed for this study can be
written by the individual player or can be taken from other materials. Pages 37 through 44 of Ted Reed's Progressive Steps To
Syncopation For The Modern Drummer work well. Please note that the rhythmic song should consist of syncopated rhythms using note
and rest values no smaller than 8th notes.

As I mentioned last month, there are several things you should keep in mind while playing the following exercises. First, the exercises
will always be played with two distinct dynamic levels happening simultaneously: the accented rhythmic song, which you are reading,
and the unaccented background pattern, which you superimpose over the song. Second, the exercises must be interpreted in different
time feels. For instance, the song will be felt much differently in a swung 8th-note feel than in a straight-8th-note or 16th-note feel. And
be sure to play all of these examples—no matter what the feel—with a metronome.

Alternating 16th-Note Variation Flammed

Playing a pattern of 16th notes, flam only those notes of the song. The flam will always appear in the lead hand, so remember to
switch lead hands.

Read:

ijZK

-A-4-

• ! ■ * * *

Play:

R L RLRL RL

Alternating 8th-Note-Triplet Variation Flammed

Playing a pattern of 8th-note triplets, flam the notes of the song. The flams will appear as they have before, so you will be playing
right- and left-hand flams, depending on where the accents are.

Read:

RLRLRLRLRLRL RLRLRL RLRLRL

MfraER'J CHUMMES COOSiR IW5

> 3 3 3^ ^ 3 ^ 3

H

rr

! ,

n

A

J

J

ft

TL

j

A

I J

1

_

J

_

■

m

L 9

.9

?ji

m

i m

3

d

d

9

9

9

—*W

*9

- 9 9

9

9

9

RLRLRIRLRLRL RLRLR LRLR LRL

Non-Alternating 16th-Note Double-Stroke Variation

This variation is non-alternating simply because you will use double strokes where there is a tied note or rest on the beat. In this varia¬
tion the accented song notes should never be part of a double stroke, and the double strokes will always start on the beat or on the "&" of
the beat.

Read:

RLRLRRLRLRLLRLRR LRLLRLRRLLRLRRLR

I

7

7

LRLLRLRRLRLRLLRL RLRL RRLRLRLLRRLL

Non-Alternating 8th-Note-Triplet Variation

Again, this exercise is non-alternating because you will employ the use of double strokes, whereas in the alternating variation you
used single strokes. The doubles will fall on either the first and second or second and third partials of the beat, depending on where the
accents are.

Read:

— A—m

fw—|

-J J „j—j

.i ..

Jr- 9 - —9 - 9 9 9

* 9 - 9 - 9

— — t ^

Play:

3 ^ 3 ^ 2 ^ 3 ^ 3 3 ^ 3 3 > 3 >

n-A m —a—al—a—a—a—a— w —at n ~' m ~aJ —m ^ a~

■U f-9 _ 9 _ 9 _ 9 _ 9 _ 9 _ 9 9 9 9 9 _ 9 _ 9

RLRLLRLRRLRR LRRLRRLLRLLR

3 > 3 ^ 3 ^ 3 ^ ^ 3 ^ 3 ^ ^ 3 3

3=y=i

LRRLRRLRLRRL RLRLLRLRRLRR

There are obvious applications of these exercises to the drumset. When movement at faster tempos becomes restricted, double strokes
may be more desirable than singles, especially if those singles have to be cross-sticked in order to be played on more than one drum.

My hope is that this study will bring you many rewards in the form of technical advancement and phrase interpretation. Happy prac-

ticin s ! m

MODERN DRUMMER OCTOBER 1995

Jn Che Studio

The Drummer's Studio Survival Guide: Part 7

by Mark Parsons

Almost all studio recording done these days (and most live record¬
ing, too) involves the use of multitrack recorders. Multitracks have
anywhere from four to twenty-four tracks (and more, if you link
two or more together) and come in five different flavors.

Recorders

Cassette-based recorders have from four to eight tracks, and
frequently come as all-in-one mixer/recorder packages, which are
excellent tools for bands to use in making demos of their tunes
prior to going into a commercial studio. Modular digital multi¬
tracks (or MDMs) such as the Alesis AD AT or Tascam DA-88 are
becoming increasingly popular in both project and commercial
studios due to their flexibility, relative low cost, and digital quali¬

ty, as are computer-based hard disk recorders. Both of these digi¬
tal systems are expandable through the linking of multiple units (in
blocks of eight tracks for MDMs and four or eight for hard disks).
Open-reel analog recorders run the gamut from 1/4" eight-track
machines to "industry standard" 2" twenty-four tracks, while
open-reel digital recorders (twenty-four tracks or more) are pri¬
marily used in top-flight commercial studios due to their high
quality and high cost. Both types of open-reel recorders can be
slaved together for forty-eight or more tracks.

Tracks

It’s outside the scope of this article to debate the relative merits
of each of these recording systems (and great recordings can be
made on each of them) other than to say that, everything else
being equal, the more tracks available to you the better...not so

MODERN DRUMMER OCTOBER 1995

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much in terms of sound quality but in terms of flexibility.

If you're dealing with eight or fewer tracks, you're probably
going to end up reducing your drums down to two tracks, either by
initially recording them to only two tracks or by recording onto
half a dozen tracks and then submixing them onto the last two
open tracks. Both ways leave something to be desired when it
comes to controlling your drum sound in the final mix. With the
first method you're stuck with what you got when you first record¬
ed your drums. If you later decide that you need more kick drum,
you're out of luck—you'll have to go back and start over at the
top, including re-recording all the other instruments done up to
that point. While the second method affords you some control of
levels (and effects) on individual drums when you do the drum
submix, when it comes to the final mix you're still going to be
stuck with the inflexibility of having all your drums on two
tracks—and drums usually sound different against the finished
song as opposed to by themselves.

With sixteen or more tracks, however, you can usually put each
drum on its own track, allowing you to take advantage of two of
the biggest benefits of multitrack recording: isolation of instru¬
ments and over dubbing. We'll cover both of these shortly, but the
primary point is that putting each instrument on its own track is
one of the best tools for maintaining control of your sound all the
way through the process, from the first tracking session to the final
mix.

Mixers

Okay, you're shopping around for a studio to record in, and you
have an idea of how many tracks you'll need to capture your
sound on tape. Now, what about that other piece of gear that all
studios use: the mixing console? What are the requirements here?
Let's briefly look at the most important features.

Input Channels. As with the number of available tape tracks, the

more inputs the merrier. At a minimum, you'll need as many input
channels as tape tracks, plus a few extra. There's usually no prob¬
lem when recording, because it's rare to record on all available
tracks at once. The crunch comes during the mix, when every tape
track requires an input channel. If you're mixing a sixteen-track
tape on a sixteen-channel mixer, for example, and you want to use
an input channel to process an effects return, you're out of luck
because all the inputs are already utilized as tape returns. So you
should always plan to have a few extra inputs available. (Yes, you
could use aux returns, but they're not as flexible as input mod¬
ules.)

Onboard EQ. Try to avoid mixing a serious project on a board
with only two-band (high/low) EQ. Control of the midrange is just
too critical, especially for drum sounds. Three bands of fixed EQ
(high/mid/low) is better, but shoot for something with a sweepable
(semi-parametric) midrange control if you can. It'll really help
when you're trying to dial in on a specific frequency to cut or
boost. Four bands of onboard EQ—fixed or variable shelf highs
and lows with sweepable low mids and high mids—will put you in
fat city.

Group Outputs. Sometimes called busses, group outputs allow
you to send a signal (or a submix of several signals) to a tape
track. As an example, your basic stereo mixer has two busses—left
and right. With the exception of using direct outs from your
inputs, group outputs limit the number of signals you can send to
tape at any given time. Currently, mixers with eight or more
busses have become the standard for most project and commercial
studios, and should provide enough flexibility for most recording
projects.

Aux Sends. These allow you to route signals to effects proces¬
sors (and headphone cue systems) and are especially valuable dur¬
ing mixdown (when, for example, you may be addressing a delay,
a chorus, and two or more different reverb programs). I'd consider

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four to be a practical minimum, with six or more being superior.

Recording Strategy

It's very beneficial to plan out how you're going to record the
various parts of a completed song, both in terms of time saved in
the studio and in getting the best possible tape of your music.
There are endless possible permutations, but we'll discuss the
three main methods of tracking here. You can fine-tune each to fit
your personal needs.

All at once. This "live in the studio" method can work great,
assuming certain conditions are met. First of all, you obviously
must have enough personnel to pull off the entire arrangement
(which means that if you're envisioning three guitar parts, you're
going to need three guitar players). Your band must be very well
rehearsed, since any mistakes (or poor performances) by any
member will require re-recording of the entire piece. Additionally,
the studio must provide for adequate isolation of individual instru¬
ments from each other, which can prove difficult with things like
vocals and acoustic guitars.

Provided these criteria can be met, this method can yield record¬
ings with the ensemble feel of a "live" tape and the superior sonic
quality of a "studio" recording. Indeed, some great records have
been made this way.

One at a time. This is for those in the opposite boat from the
"live in the studio" folks. The "one man band" guys, of course,
have to track one instrument at a time. But this method also works
well when you're not yet sure of all the details of the song. You
can start by just laying down the groove. Then, after the chord
changes have been decided upon, the bass part can go down. The
guitarist can then take home a cassette of the bass/drum tracks to
help him finalize his part, after which the vocalist can., .etc.

The "one track at a time" method is also useful if you have to
record in a room too small to fit the whole band in at once—or in a

room with no provisions for isolation between instruments. The
benefits of recording this way are that you can achieve perfect iso¬
lation between tracks, and you can utilize the studio's very best
microphones and dynamic processors (which are probably in limit¬
ed supply) on each instrument. The drawback to overdubbing each
instrument is that the "feel" tends to suffer, due to the lack of
interaction during the actual recording. This can result in record¬
ings that sound more stilted and less organic (especially with
regards to rhythm parts) than they otherwise might.

Section by section. This hybrid method uses the best of the two
previous techniques. Usually the rhythm section goes first, record¬
ing their basic tracks as a unit. To increase the "band feeling" and
tightness of the rhythm tracks, the singer usually performs the lead
vocal part at this time as well. (This "guide" vocal isn't intended
to be part of the final mix. A "keeper" vocal will be tracked later,
but the guide—sometimes called a "scratch" track—helps the
groove and makes things easier during any subsequent instrumen¬
tal overdubs.)

Next might come any additional rhythm parts (such as a second
guitar part or a synth overdub), followed by a vocal session where
the final lead and backing vocals are cut. Any solos might be
tracked next, followed by things like percussion overdubs and
sweetening. The exact order isn't as important as the general con¬
cept: Get the core of the band on tape playing as a group, then
overdub other parts in a logical sequence that builds on the cohe¬
siveness of the basic tracks. This gives us the advantages of
rhythm tracks that have a solid, organic groove (due to interaction
between drummer, bassist, and other rhythm players) and flexibili¬
ty for vocals and solos (which can be rehearsed and tweaked
against the basic tracks until they feel right). Other benefits
include isolation for all overdubbed tracks as well as the use of
choice mic's for those same tracks. All in all this is a practical and
highly recommended way for most bands to record.

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Other helpful tips in this area. Once you're set up to record a
basic track, go ahead and cut rhythm tracks for several songs
(assuming it's a multi-song project). Then overdub all the vocals,
then all the solos, and so on, instead of completely finishing one
tune before starting the next. This'll save you lots of time (and
money) in the studio. Make sure most arrangement details and
other creative decisions are made prior to entering the studio.
(That's why this is called pre-production.) Not only is it expensive
to re-think your arrangements in the studio, it's also hard to be
relaxed enough to be creative when everyone's watching the clock
tick away your (presumably limited) recording budget.

Also, make up a dummy track sheet during your pre-production.
This is simply a piece of paper divided into squares, with each
square representing a tape track. Number the squares and write in
each one exactly what you plan to put on that particular track—
whether it's a cowbell part or an entire horn section. This'll keep
folks from getting carried away with the magic of overdubbing
and running out of tracks. (I recently had a situation where with
only two remaining tracks available—carefully left open for a
backing vocal and a guitar melody—the guitarist suddenly decided
that he wanted to record his part in three-part harmony!)

created some brilliant drum tracks while negotiating a click.

"The click is your friend," Rod states emphatically. "It's not
supposed to be an enemy that embarrasses you and makes you
realize how human you are. And like anything, you have to prac¬
tice with it. If you have no experience with it you're probably
going to be very surprised at how difficult it is to play consistently
with it. It's like most skills in life: You have to do them consistent¬
ly to stay at a particular level or get better at them. I can't empha¬
size enough to drummers who really are serious about a career in
music and are hoping to get into recording studios that you have to
spend some of your practice time working with a click, because
the odds are that once you get in the recording studio you're going
to have to play with one.

"Playing with the click will build your confidence," Rod contin¬
ues. "I think there's a feeling sometimes that if you practice with a
click you're going to then become dependent on it. I don't feel that
at all. When you've been practicing with one and then it's not
there, you're going to take some of that influence with you—some
of the consistency of it. It's going to help you start thinking more
in time."

The Dreaded Click

Sooner or later you're going to find yourself in a situation where
you have to play along with a sequenced instrument or come in
after the fact and lay drums on top of previously recorded tracks.
(Or maybe you're just working with a producer who's a fanatic
about strict timekeeping.) Either way you're going to be playing
with a click track. It's really not that big a deal once you get used
to it, but don't wait until you're under the gun. Start now. Use a
drum machine (or just an inexpensive metronome with a head¬
phone jack) and get accustomed to playing with it. For more
insight into the subject I spoke with Rod Morgenstein, who has

Playing For The Tape

Okay, you've found a studio you like, your band's well-
rehearsed, you've decided how you're going to track things, your
drums are meticulously tuned, and all the mic's are carefully
placed. (We'll talk about those little beasties next time!) The red
light comes on and you think, "This is it! This is going down for
posterity and everyone's gonna hear it, so I'd better show my
stuff...." So you pull out all the stops and play every fill you've
ever learned within the first eight bars of the song in a dazzling
display of technique. Right? Wrong. More recordings have been
sabotaged by over-playing (and under-listening) than by any other
factor. A lot of this happens due to the attitude illustrated above

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and failure to keep the final goal in mind. So here are some
thoughts to help you "play for the tape" and achieve a successful
recording.

Songs are built from the bottom up. I know you've heard this
before, but it's true: You can't build a good structure on a weak
foundation. The basic tracks—especially the drums and bass—
should really feel good before you add other parts to the song. If
you finish a take and you know that something about your part
wasn't up to par, 'fess up right then and there. It's far better to
invest a few minutes to take another swing at it now than to have
everyone realize during the final mix that the groove just isn't hap¬
pening.

Always keep the finished song in mind when cutting drum
tracks. When it's just you and a bassist (and maybe a rhythm gui¬
tar) there's a lot of space in the music. It's easy to get carried away
and fill in all the holes (which is why it's a good idea to have
someone singing a guide vocal when cutting basics). Whether or
not there's a vocal cue available, you should envision the complet¬
ed song and be aware of how your drums fit in, then play the part
you envisioned.

Support the song rather than your ego. Many times musicians
come up with a part that they think is interesting or unique or sim¬
ply shows them in a good light, and they become so enamored of
that part that they're blind to the possibility that it might not fit the

song at all. Avoid this syndrome by stepping back and listening to
the song as though hearing it on the radio being performed by
another band. Does the drum part groove, or is it distracting? Does
it enhance the song, or weaken it by competing with a vocal or
featured instrument? If you can't be objective enough to do this
while you're actually playing, then listen to rehearsal tapes. As
mentioned earlier, it's better to sort these things out prior to going
in the studio.

Listen closely to your favorite pro drummers. You know what
they can do when they're shredding, but I want you to analyze
what they're playing in the middle of a verse or during someone
else's solo. I think you'll find that even the more technical drum¬
mers know when to shine and when to lay down a foundation that
makes the music feel good.

I don't want to leave you with the impression that "playing for
the tape" equals "no chops allowed!" because it doesn't. I like lis¬
tening to a skilled player "show his stuff as much as the next
drummer. It's just that our goal with these articles is to see to it
that when you go into a studio—whether a four-track demo room
or a forty-eight-track pro facility—you come out with a tape that
both drummers and non-drummers will like. We want that tape to
be successful at whatever its intended purpose is, from landing
you a gig at that club downtown to landing you a record deal at a
major label. 1^1

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MODERN DRUMMER OCTOBER \995

Jvont c he Post

Arthur "Zutty" Singleton

”'We just kept the rhythm going and hardly
ever took a solo.”

Text excerpted from The Great Jazz
Drummers by Ron Spagnardi, published
by Modern Drummer Publications. Kit
information and photo at left reprinted
with permission from Hal Leonard
Corporation. © 1994 Jon Cohan.

Zutty Singleton was bom in Bunkie, Louisiana in 1898, and was
basically a self-taught drummer. During his illustrious career he
worked with Steve Louis, the Tuxedo Jazz Band, Louis Nelson,
the Maple Leaf Band, and the popular Fate Marable. However,
Singleton would not gain national recognition before his record¬
ings with Louis Armstrong's Hot Five of the '20s.

In 1917, Singleton was part of the migration of jazz musicians
to Chicago, where jazz activity was flourishing. While there, he
performed with Doc Cook, Dave Payton, and Jimmie Noone, and
later in New York with Armstrong, Fats Waller, and Sidney
Bechet. He also recorded with Pee Wee Russell, Jelly Roll

Morton, Wingy Manone, and Buster Bailey.

Known for his great suppleness, Singleton followed the melodic
lines of jazz improvisation more closely than anyone who had
come before. He also utilized a more modest setup in comparison
to other drummers of his era. With the exception of the standard
novelty effects, Singleton limited himself to a snare drum, bass
drum, two toms, and two or three cymbals.

"When we soloed," recalled Singleton, "we had all kinds of
gimmicks—skillets, ratchets, bells, Chinese toms, Chinese cym¬
bals—everything. But there was very little rhythmic syncopation.
All you had to do was keep good time."

Another key element of Singleton's style
was his use of the snare drum press roll
accentuated on the second and fourth beats
to maintain the pulse. Singleton's press
roll timekeeping technique was actually
the forerunner of the modern jazz cymbal
beat.

"The first pair of brushes I ever had were
given to me by Louis Cotrelle," said
Singleton. "I studied Cotrelle's work a lot
during the early days. But Louis didn't
care about brushes, so he gave them to me.
They were the first pair of brushes I ever
saw in my life. Before that, you had to get
your soft effects by controlling your touch
with the sticks."

In 1974, Singleton was awarded the
Gene Krupa Award, and in 1975 he was
voted into the NARAS Hall Of Fame for
his performances on the Louis Armstrong
Hot Five recordings that were made in
1928. A stroke rendered Singleton inactive
in 1969, and he died in New York in '75.
Fans of traditional jazz continue to rank
Arthur "Zutty" Singleton a true jazz drum¬
ming pioneer and a leader in the field.

—Zutty Singleton

■MODELS CRJfriME H OCTQ0 iR ’ 995

Zutty Singleton's Kit Circa 1941

Once Zutty became a Leedy endorser in the late '30s, he
received a white marine pearl-covered kit, which he played for
at least twenty years. Even after the hi-hat (or Charleston cym¬
bals, as they were sometimes called) became popular in the
'30s, most Dixieland drummers didn't use them, preferring to
keep the syncopated pulse on the snare drum. Zutty would
only use a hi-hat if the gig called for it. Otherwise he kept time
on an 8"-deep Leedy Broadway standard snare drum. Like
Baby Dodds, Zutty kept his drums tuned to specific notes that
coincided with the songs he was playing. His tom-toms, which
varied in size from 11" to 14", were mounted on his bass drum,
along with cowbells and a woodblock and other effects, which
were essential to the New Orleans sound.

Leedy drums, marine pearl

1. 8x14 Broadway standard
snare drum

2. 9x13 or 7x11 single-ten¬
sion tom-tom

3. 28" bass drum

4. 12x14 tom-tom (mounted
on the bass drum)

5. 14x16 floor tom

A. 16" Zildjian cymbal

B. 15" riveted Chinese crash

C. 6" choke cymbal

D. woodblock

E. cowbells

Additional trap effects include: train whistle, ratchet.

Note: Zutty often would switch the 12x14 tom-tom to his
left and put the 7x11 or 9x13 to his right. He might also
omit the floor tom.

Excerpted from Star Sets, Drum Kits Of The Great
Drummers by Jon Cohan (ISBN #0-7935-3489-5, Hal
Leonard Corporation).

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Questions & Answers

by Billy Messinetti

As an educator in electronics for drummers, I'm often asked the
same questions over and over. This is because there are some very
common situations that come up all the time. In this article I'm
going to address some of these frequently asked questions. I'll be
very specific and add definitions to clarify things even further.
Rather than just telling you what to do, I prefer to teach you so
you will understand what's going on. This will help you figure out
other situations you run into in the future.

This article is geared towards someone who already uses elec¬
tronics, not the beginner. If you are a beginner or need further
detailed explanations, look for my forthcoming instructional
video, Basic To Intermediate Electronics For Drummers.

The most popular instruments in electronic drums are currently
the Roland TD-7 and drumKAT3.5, so most questions will pertain
to them. However, keep in mind that there are common parameters
(control functions) in most electronic MIDI instruments.

1. Can I split the inputs in the TD-7 and use two separate
pads?

The TD-7 is a drum/percussion sound module with a nine dual¬
trigger-input interface. Naturally you might think the signal can be
split to trigger two separate sounds. This is only possible with
either the Roland PD-7 or PD-9 pads, which are not the standard
pad-with-rim configuration (like a ddrum or S&S pad). If you plug
in any other pad with a separate rim output or use two acoustic
drum triggers, it will not work.

2. The pad or trigger won’t respond to double strokes.

Mask Time is a parameter common to both the TD-7 and
drumKAT, used to avoid false or double triggering. What you are
setting here is the amount of time that the interface (trigger inputs)
will ignore additional signals after an initial hit. The time is mea¬
sured in milliseconds. Be careful not to set this too long, or notes
meant to be heard will be ignored (the second note of a flam, for
instance). Lower the mask time. If you bury the beater when you
play the bass drum, be careful not to set the mask time too low or
you will hear multiple hits.

3. Hitting one pad or trigger causes other unwanted sounds to
occur.

This is known as false- or double-triggering. There are a few
different ways to address this problem, depending on what instru¬
ments you're using. Basically you can address the interaction or
crosstalk parameters and/or raise the sensitivity or threshold level.

In the drumKAT, adjust the trigger interaction matrix (which is
found in the "global edit" mode). In the TD-7, go first to the "trig¬
ger edit" mode, then go to the "crosstalk group" parameter and
assign the pad or trigger you're hitting and the ones that are false-
triggering to the same "crosstalk group" number.

4. Grace or ghost notes are not being picked up by the snare
pad/trigger.

Threshold is the point at which a trigger signal is recognized.
Lower the threshold until the softest notes you play are tracking.
Most players prefer the threshold on the snare to be set very low,
while toms are set relatively higher—due to the fact that you don't
play with as much subtle nuance on the toms as on the snare.
Conversely, if hard hits are causing false-triggering, you should
try raising the threshold. (This might also be controlled with either
mask time or headroom.)

Headroom is used when "training" a trigger, to set up a safety
margin. Simply put, if you get false- or double-triggering, raising
the headroom uses this safety margin to eliminate unwanted sig¬
nals. Just be careful not to raise this parameter too high, because it
can diminish the tracking accuracy. Keep it as low as possible
without causing problems.

5. How do I adjust the volume of the individual sounds in the
TD- 7 module?

The mixer section of the TD-7 is found under "instrument edit."
Press "jump" and then press the top far right button (#3 or edit
button). Now you're in the "instrument edit" mode. Turn the data
knob until you get to "out level." Move the cursor right, hit the
pad of the sound you want to adjust, then raise or lower the "out
level." If you can't get it loud enough, lower the "out level" of all
the other instruments. Don't forget that there are two level adjust¬
ments to be made for sounds with layers.

MODERN DRUMMER OCTOBER l¥95

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6. How do I back up all of the data in my instruments, just in
case anything goes wrong (such as lightning strikes, power
surges, or equipment breakdown)?

It's very necessary to back up all of your work. A sequencer or
sysex recorder is needed for this task. Make sure the sequencer is
set to record sysex (or "system exclusive") information. Check the
owner's manual of the instrument you're backing up for instruc¬
tions on sysex dumps.

Connect the MIDI Out of the instrument you're backing up into
the MIDI In of the sequencer. Start recording and send a MIDI
dump. Let the recording continue until the instrument is done
sending information. Save the dump as a song file onto a floppy
disk or in the hard drive of your computer, if you're using a soft¬
ware sequencer.

7. The dynamics of the pads/triggers aren’t consistent with my
playing.

Interfaces today are equipped with auto-train modes. The
pads/triggers must be "trained" before any other adjustments are
made. That involves selecting the proper gain, threshold, and mask
time settings. After "training" the triggers, check the velocity
curve and minimum and maximum dynamics.

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8. Where is the best position to place triggers on acoustic
drums?

There are a few positions that are good. If you're using head-
mount triggers, place them about 1" away from the rim at about
12 o'clock (directly across from you). An alternative for tom-toms
is on the shell, beneath the top drumhead hoop. Then there are
rim-mount triggers, which touch the heads in an "out of the way"
place.

9. Will any electronic hi-hat pedal or footswitch work with any
interface or drum module?

There are different types of hi-hat pedals and footswitches. KAT
and Roland use hi-hat pedals (the hatKAT and FD-7 respectively)
that send out continuous controller information that tell the posi¬
tion of the pedal. I usually recommend sticking with the same
manufacturer: KAT with KAT products and Roland with Roland.
However, they can be interchanged. The hatKAT can also substi¬
tute for a second bass drum.

Some drum modules can only use a footswitch, of which there
are two types: momentary open and momentary closed. Either one
will only read open or closed positions. Check which one you need
for the instrument you use. You cannot interchange these and get

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Up £ Coming

by Ken Ross

Horacio "El Negro" Hernandez is a thirty-one-year-old Cuban-
born phenomenon, a gifted drummer who represents a new genera¬
tion of great musicians following in the footsteps of countrymen
Arturo Sandoval, Ignacio Berroa, Daniel Ponce, Paquito D'Rivera,
and others. Hernandez plays on the cutting edge of today's music
with technical prowess and purpose. His drumming also reflects a
proud musical heritage rooted in folkloric tradition.

Horacio first gained international recognition as the drummer
for the extraordinary Cuban pianist Gonzalo Rubalcaba and his
group Proyecto. This band's electrifying performances captured
the attention of audiences around the world. Hernandez combined
his musical skills with his dynamic playing to help propel
Proyecto to a position of being one of Cuba's top contemporary
bands. Since leaving Cuba, Hernandez has made a name for him¬
self in the U.S. with his playing on Paquito D'Rivera's Forty
Years Of Cuban Jam Sessions, Ed Simon's Beauty Within, and
Victor Mendoza's This Is Why.

Hernandez was born in Havana in 1963. "I grew up in a very
musical family," he says. "My grandfather played trumpet with
various bands including the Septeto Nacional [traditional Cuban
band famous since the 1920s]. He was the traditional Cuban influ¬
ence in our family. My father was a real jazz buff who hosted jazz
programs on the local radio stations. My brother was always into
rock music, like the Beatles. It was difficult for me to play my
records at home," Horacio laughs, "because everyone else in the
family was playing their music." (Incidentally, "El Negro' —the
black—was a nickname given to Horacio even before he was born.
It was a sign of affection for a little black boy who lived next door
and was best friends with Hernandez's brother.)

Horacio's inclination towards drumming was evident at an early
age. "We were fortunate to have a lot of instruments in our house,"
he recalls, "thanks to my grandfather. We had small hand percus¬
sion instruments and even a piano. But I never had a drumset
when I was young. In Cuba, even if you could afford to buy a
drumset, it was very difficult to locate one. When I finally got a
set, I practiced all day long. I practiced along to the radio, listening
to people like Tony Williams and Billy Cobham. I had no idea
about foot technique or double bass drums. I just tried to copy
what I heard on the radio."

Hernandez's enthusiasm for drumming grew, and eventually he
studied with two of Cuba's finest teachers. "My first teacher was

Fausto Garcia Rivera," says Horacio. "He was a show drummer
who had studied in the United States with Henry Adler and
George Lawrence Stone. At that time in Cuba, Fausto was the only
teacher with that kind of information, so we mainly worked on
snare drum reading and technique. We read from Stick Control,
the Buddy Rich book, the Podemski book, and some great Russian
books.

"My other teacher was Enrique Pla [of the famous Cuban jazz
group Irakere]. He was one of the best drumset players in Cuba at
that time. My father always encouraged me to hear Irakere play
live, and Enrique's playing was very inspirational to me. We used
to listen to him play at a club in Havana called Johnny's Dream.
All the great musicians—like Arturo Sandoval and Paquito
D'Rivera—jammed there."

Hernandez continued to broaden his education by enrolling in
the prestigious National School of the Arts in Havana. "They
taught us classical music, timpani, mallets, and snare drum," he
recalls, "but they would not teach timbales, conga drum, or the
drumset. They considered the timbales and conga drum 'street
music,' while the drumset.. .that was Americanl [laughs] But when
the teacher would leave the room we would set up all the concert
instruments like a drumset and play rock music. Most of the stu¬
dents were more into rock music than classical."

Horacio's first professional break came while he was still
attending school. "I got a job playing with a well-known saxo-

•O# MODERN DRUMMER OCTOBER 1995

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phonist named Nicolas Reynoso," he says.
"We played mostly jazz. Gonzalo
Rubalcaba was the pianist in the band."
Hernandez stayed with Reynoso about one
and a half years, developing a reputation as
a uniquely talented and versatile drummer.

Opportunity knocked once again for
Hernandez when he was asked to take over
the chair of session great Ignacio Berroa at
Egrem Studios, one of Cuba’s largest
recording studios. "The studio is where I
learned the most," remarks Hernandez. "I
played twenty hours a day, in every style,
with all kinds of bands. I must have record¬
ed hundreds of records for them."

Hernandez soon became first-call ses¬
sion drummer for Egrem. Not long after
that he received a call from his old friend
and bandmate Gonzalo Rubalcaba.
"Gonzalo was putting a group together, and
he asked me if I wanted to join," Horacio
recalls. "I had to say no because I had an

engagement with a woman singer in
Nicaragua. After I hung up I thought for a
second and said, 'What the hell am I
doing?!' So I called Gonzalo right back
and said yes!"

Rubalcaba's compositions covered a
wide range of styles, from classical Cuban
to electric jazz. "Gonzalo's music was the
most challenging music I ever played,"
admits Hernandez. "He could tell you
exactly what he wanted because he was
also a drummer. The music was always so
original—and written out beautifully. I'd
say about half of it was improvised. I
almost never played backbeats. I feel that I
contributed a lot of the jazz feel to the
band. The first record we recorded, in
1980, was called Gonzalo Rubalcaba Y Su
Proyecto."

Horacio's career took another leap in
1982 when Arturo Sandoval's band had to
cancel an overseas jazz festival appearance

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due to Sandoval's illness. "We got a call
the next day," says Horacio. "We were told
to pack our bags, because Proyecto would
fill in for Arturo's band. To leave Cuba
was an incredible experience for us. It's
not like in the U.S., where you can just
take a vacation. When we arrived in
Holland, everything was so new for me. I
walked into this huge hotel—and there in
front of me stood Jack DeJohnette! I
couldn't believe it; I was overwhelmed!"

The concert was a huge success for
Proyecto, and launched them into almost
non-stop touring around the world.
Hernandez stayed with Gonzalo Rubalcaba
for seven years, during which he recorded
a total of seven albums and established
himself as a world-class drummer. Beyond
his remarkable technical and musical skills,
he demonstrated a unique ability to adapt
the drumset into any style of music. His
clever re-voicing of Afro-Cuban folkloric

rhythms set new standards for the drumset.

By 1990 Hernandez had decided it was
time to move on. He was eager to play with
other musicians and pursue musical oppor¬
tunities outside of Cuba. "In Cuba, work
for the musician is really different. You
usually stay with the same band all the
time." When an opportunity presented
itself, Hernandez sought political asylum in
Italy, where he played and also taught at
the Timba Centro di Percussion in Rome.
In 1993 he decided to make the big move
to New York City.

"When I arrived in New York," says
Horacio, "the first person I called was
Paquito D'Rivera. He said, 'Hey! How did
you get here?' and I said, 'That doesn't
matter. I'm here!' So he said, 'Okay! We
have a recording tomorrow!' That turned
out to be his Forty Years Of Cuban Jam
Sessions album."

While Hernandez anxiously awaits citi-

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J

zenship from the United States, his travel is restricted. "That
makes it difficult for me because most of the artists I work with
perform overseas," he remarks. However, Hernandez is still keep-

Change
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Hearing loss has altered many careers in the music
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ing a very busy schedule playing live dates and recording with
such artists as Dave Valentin, Anthony Jackson, Jerry Gonzalez,
Papo Vasquez, Daniel Ponce, Ed Simon, and Dizzy Gillespie's
United Nations Orchestra led by Paquito D'Rivera. He is also
teaching drums at the Boys Harbor Performing Arts Center in New
York City, while completing a method book he is very excited
about.

"I call it sort of a Latin Gary Chester book," says Hernandez
with a grin. "Many of the exercises are aimed at developing a stu¬
dent's independence with authentic Afro-Cuban rhythms. A sec¬
ond part deals with application of these rhythms to the drumset.
The material is geared for the intermediate player to the profes¬
sional and beyond."

Although he cannot return to his country, Horacio feels fortunate
to have his artistic freedom and is optimistic about the future. He
looks forward to the challenges ahead with the same spirit and
courage his countrymen have demonstrated before him.

non-profit organization founded by musicians and physi¬
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460847 San Francisco, CA 94146 or call the
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Horacio's current setup includes a five-piece Pearl Masters
Series kit featuring an 18x20 bass drum, a 14x14 floor tom,
8x10 and 10x12 rack toms, and a 6 1/2x14 wood-shell snare
drum. Along with a selection of Afro Percussion instruments, he t
employs a variety of Zildjian cymbals (depending on his gig),
generally including a 22" A Custom ride, an 18" K crash with a
6" splash on top, a 15" China trash, and a pair of 13" K hi-hats.
He also uses a double bass drum pedal, three LP Jam Blocks, a
mounted tambourine, and an assortment of cowbells (one of
which is foot-activated).

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(Critique

RECORDINGS

BILL STEWART
Snide Remarks
(Blue Note 32489)

- tf ) -0

Bill Stewart: dr
Joe Lovano: sx
Eddie Henderson: trp
Larry Grenadier: bs
Bill Carrothers: pno

Des Moines native Bill Stewart has risen quickly through the
jazz world to work with the music's most outstanding players. Lee
Konitz, Joe Lovano, John Scofield, and even Maceo Parker have
called on Bill for his explosive chops and crackling time concep¬
tion. Stewart has absorbed the varied styles of Tony Williams for
sure, but he's also added a dash of Elvin's rumbling toms, Roy
Haynes' quirky ruffs, and Philly Joe's elastic feel, plus his own
often abstract interpretations.

Avoiding the usual bop-oriented approach, Stewart here devel¬
ops unusual melodies based on Bartok, Debussy, and Messiaen.
Like late-'60s Miles (Nefertiti) or Wayne Shorter (Speak No Evil),
Snide Remarks is sometimes brooding, but always rhythmically
imaginative and free, with wide-open vistas for these formidable
musicians to improvise on. The album contains several impres¬
sionistic ballads (where Bill brushes up a storm with cymbal
effects and sculptured toms), but there are many fiery moments as

well. "Crosstalk" is a
poly rhythmic,
uptempo jaunt with
scorching solos all
around, culminating
in a drum/sax duet.

"Fred And Ginger"
is a 5/4 piece with a
dance-like quality.

And the title track's
jagged melody is the
perfect foil for Stewart's ruffs, rimshots, and somersaulting
bass/tom moves, while "Mayberry" is a playful romp, with
Stewart bashing an icebell splash while the melody sways and
yawns.

Given the high degree of craftsmanship Bill Stewart has shown
as a sideman, the drumming here is no surprise. But his composi¬
tions bear the mark of a creatively restless musician, recalling the
past through a uniquely stylized vision.

• Ken Micallef

DEICIDE

Once Upon The Cross
(RoadrunnerRR 8949-2)

Glen Benton: bs, vcl

Eric Hoffman, Brian Hoffman: gtr

Deicide isn't caving in to its
many religious right-wing
detractors with these twenty-
eight minutes of Satanic spew.
But beneath the depths of
depravity is a band that has
shaped itself into one of death
metal's tightest musical outfits.

Though the record's surpris¬
ingly clean production does lit¬
tle to clarify Benton's sub¬
human throat throttle, it does

bring out the musicians' best—
particularly in Asheim, who
lets his creative side emerge
from behind his otherwise
relentless double kick work.

Asheim brings Deicide as
close as it gets to a groove dur¬
ing "Christ Denied" and uses
the floor tom on several other
tunes for brief and welcome
rhythmic changes. His steady
pulse keeps the band moving
through time shifts that often
occur between the verses and
choruses of a given song. Of
course, it wouldn't be Deicide
without an exercise in feet
feats. Here, it ranges from blaz¬
ing blast beats to the non-stop
marathon of "Behind The Light
Thou Shall Rise."

Deicide's reputation will
always precede—and exceed—
its talent. But at least with this
record, their message is deliv¬
ered with newfound skill.

• Matt Peiken

JIM CHAPIN

Songs, Solos, Stories

(HQ Percussion Products HQCD101)

“5> ■§) V 2

Jim Chapin: dr, vcl
Rick Zelle: kybd
Jay Hungerford: bs
Willie Atkins: sx

Six songs, seven solos, and
five stories, to be exact. And it
really is a great historical per¬
spective, charming and infor¬
mative, from a drummer who's
seen it all—seventy-five years
and going strong.

"Chapinisms" is an indepen¬
dence lesson in itself, an ener¬
getic trip around "Seven Steps
To Heaven" that is more than

just pomp and circumstance.

It's craftsmanship and stick
smarts. Some listeners may
"look the other way" through
camp vocal numbers like
"Camy Days," with its mis¬
timed ending, or a (painfully)
corny "Love And Laughter,"
but there's always a lesson in
Chapin's easygoing, slick-
moving accompaniment, on
brushes or sticks—like the
independence he injects his
shuffle beat on "Bourgeois
Blues." The chops displayed on
"Brushtique" are pure mastery,
and his practice-pad solo
"RealFeel" is a tour de force.

Chapin's reminiscences
about Gene Krupa and Buddy
Rich are fascinating, real life
sketches, not overly sentimen¬
tal. And his solos, "For Gene"
and "For Buddy," are loyal,
inspired tributes. Chapin dis¬
cusses the beginnings of his
wildly successful independence
book Advanced Techniques
For The Modern Drummer

MODE RN DRUMME R OCTOBER 1995

(Volumes I and II), and plays a
solo based on its teachings.

This CD might be a bit of an
"inside joke" at times (a song
about Dom Famularo?), but
there's a lot of warmth and
musicality here. (Distributed by
HQ Percussion Products, P. O.
Box 430065, St. Louis, MO
63143)

• Robin Tolleson

NATIVE COLOURS

One World

(Concord Jazz CCD-4646)

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NATIVE

COLOURS

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Billy Drummond: dr
Ralph Moore: tn, sp sx
Renee Rosnes: pno
Larry Grenadier: bs

Billy Drummond is one of
the most crisp, popping, and
sensitive straight-ahead drum¬
mers around, and this quartet is
a great forum for his style.

Each member has a buoyant
rhythmic drive that makes
tunes like "Pumpkin's Delight"
swing hard. Moore,

Drummond, and Rosnes have
led on fine discs of their own,
but the idea for Native Colours
came about from years of
crossing paths as accompanists
to the heavies—a "sideperson"
supergroup, if you will.

The ensemble sound is as

tight as old school buddies and
the soloing is inspired. Sure,
Drummond sounded great
behind longtime legends like
Sonny Rollins and J.J. Johnson,
but hopefully he will also make
a mark on his own terms with
this precocious unit.

•Jeff Potter

SOULS AT ZERO

A Taste For The Perverse
(Energy NRG 81115-2)

TTiTTl Ft zero

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Jnv?!!:- 1 or. iHferrj vcf se

Jamie Miller: dr, perc
Brad Divens: vcl, bs
Terry Carter, Jay Abbene: gtr

Grab Pantera guitarist
Dimebag Darrell, hand Rob
Zombie the microphone, and
put Tim "Herb" Alexander
behind the kit, and you essen¬
tially have Souls At Zero—a
band just starting to hint at its
musical and creative potential.

It's somewhat unfair to both
drummers to compare Jamie
Miller with "Herb"—while
they share similar approaches
to rhythm, snare hand, and
cymbal accents, the musical
results are decidedly different.
Miller has more of a bottom-
ended feel to his performance,
and the band works it to greater
headbanging effect.

Miller is a disciplined drum¬

mer who rarely steps outside
his deep pocket for brow-rais¬
ing fills. Still, he makes a state¬
ment simply through his snap¬
py, dynamic groove. A high-
end snare sound and interesting
cymbal timbres lend distinction
to his style. And even in mod¬
erate tempos, Miller's playing
comes off inspired and ener¬
getic.

Through it all, despite the
group's obvious influences,
Souls At Zero rocks with an
independent spirit. (Energy
Records, 545 Eighth Ave., 17th
Floor, New York, NY 10018)

• Matt Peiken

PETELAROCA

Basra

(Blue Note CDP 7243 8 32091 2 5)

0 00 0

Joe Henderson: ten sx
Steve Kuhn: pno
Steve Swallow: bs
This reissue was considered
fairly "out" at the time of its
initial release in 1965, but it fit
right in with what was going on
at jazz's cutting edge. (John
Coltrane's A Love Supreme was
released the same year.) Pete
La Roca was the drummer of
choice for a number of progres¬
sive musicians from the late

'50s through the '60s, includ¬
ing Sonny Rollins, Jackie
McLean, John Coltrane, Art
Fanner, Charles Lloyd, and
Paul Bley.

Basra is a fine showcase for
La Roca's progressive style.
Perhaps because he spent time
early in his career playing tim¬
bales in Latin bands (Pete
changed his name from Sims to
La Roca to sound more Latin),
he propels the time as much
with drums as with his ride
cymbal, providing explosive,
aggressive backing for the
soloists. The album's six tracks
show off the drummer's
approach to both hard bop and
Latin-flavored tunes, while the
ballad "Lazy Afternoon" fea¬
tures his gentle, windshield-
wiper brush pulse. The musi¬
cality of La Roca's two extend¬
ed drum solos is enhanced by
the fact that Swallow and Kuhn
continue to comp behind him—
a technique that is severely
under-used by most jazz
groups.

Pete La Roca quit the music
business in 1968 to become a
lawyer. His name has been for¬
gotten by many, but this album
provides evidence that, during
an especially fertile period in
jazz history, he was a talent to
be reckoned with.

• Rick Mattingly

ADDENDUM

The contact information for
Rippopotamus, who were men¬
tioned in August's Significant
Others* has been changed to:

2 Funky International Records,
P.O. Box 35 765, Brighton,

MA 02135* (617)254-2478.

SIGNIFICANT OTHERS

GENE JACKSON turns in some strong drum tracks combining funk, jazz, and world-beat influ¬
ences on trombonist Robin Eubanks' engaging Mental Images (JMT). (MARVIN "SMUTTY"
SMITH guests on two tracks, including a burning duet with Eubanks.) Police Live (A&M) is a
double CD that niftily showcases early- and late-era gigs, making for a fascinating study of
STEWART COPELAND’S skill and energy. BILLY CONWAY stylishly nudges and coaxes
Morphine's Yes (Rykodisc) into smoky low-note heaven. MAKING SIMPLE INSTRUMENTS
by Bart Hopkin (Lark Books, $24.95) is a well-produced, full-color hardcover clearly detailing
instructions for building and playing many unusual home-made percussion instruments.

RATING SCALE

0 0 0 0 0 Excellent
-0000 Very Good
000 Good

00 Fair

0 Poor

To order any of the CDs, videos, or books reviewed in this (800) 962-6651

month’s Critique — 24 hours a day, 7 days a week — call.., —MJ€J€JKaf±^rtJwV ext. 8500

MODERN DRUMMER OCTOBER 1995

RALPH PETERSON
FO'TET

The Reclamation Project

(Evidence BCD 22113)

Ralph Peterson: dr
Steve Wilson: sp sx
Bryan Carrott: vbs, mrm
Belden Bulloch: bs

Aggressive, thunderous, and
constantly probing, Ralph
Peterson's drumming is a chal¬
lenge to soloists. Like surfing a
tsunami, those who can manage
get the ride of their lives while
others are crushed beneath the
force. Peterson's sixth disc as a
leader continues his growth as
an uncompromising drummer
and composer. He has wisely
chosen the route of others in his
tradition—Elvin, Blakey, Tony
Williams—to front his own
unit for maximum drum
expression.

While many jazz drummers
drive their bands with a top-
heavy cymbal-ride texture,
Peterson's sound is a full-
throated drum surge. Bassist
Bulloch roots the band, allow¬
ing Ralph to roam freely while
longtime Fo'tet vibist Carrott
provides fascinating angular
comping and risky soloing.
(When will this rare mallet man
be "discovered"?) Wilson's
soprano skillfully skirts the
dense layers; with all the note
activity, it's amazing how
"open" the band sounds.

With his new label,

Evidence, known for its sup¬
port of iconoclasts, Peterson is
likely bound for even riskier
drumming territory. That's
good news; expect mo'yet from
this Fo'tet.

•Jeff Potter

PRINT

RUDIMENTAL FANTASY
FOR DRUM SET

by Art Cappio

(Pioneer Percussion)

$4

-0 U

Rudimental Fantasy was
written "to explore the unlimit¬
ed possibilities that exist in
rudimental solo theory and
drumset transference" (a topic

also briefly covered in
Cappio's book). This fifty-mea¬
sure solo is printed on three
pages (making for an awkward
page turn to get to the back of
the second page), with instru¬
mentation for a five-piece set
clearly marked at the begin¬
ning. The solo opens with a
cadenza in free time before
launching into numerous meter,
dynamic, and tempo changes.
This is a creative use of rudi¬
ments around the drumset and

could be a motivator for a
"drummer" to explore the rudi¬
mental aspects of the instru¬
ment.

Playing this solo is a "musi¬
cal" way to learn some of the
rudimental basics. After all,
practicing a solo is always
more exciting than practicing
exercises. (Pioneer Percussion,
Box 10833, Burke, VA 22009)

• Lauren Vogel Weiss

VIDEOS

IGNACIO BERROA

Mastering The Art Of Afro-Cuban Drumming
(Warner Bros./DCI)

$39.95,72 minutes

Drumming behind artists such as Dizzy,
Paquito D'Rivera, Michel Camilo, McCoy
Tyner, and Tito Puente, Ignacio Berroa married
the sensibilities of jazz with the Afro-Cuban
rhythms of his birth land. He opens his video
with an explanation of the clave, followed by
demonstrations of Cuban folkloric rhythms,
dance music, and the roots of salsa leading up
to songo. As a special bonus, "Changuito," the
forefather of modern songo grooves, demon¬
strates his kit innovations.

Accompanied by cutting-edge conguero
Giovanni Hidalgo, Ignacio gets behind the tim¬
bales to demonstrate the rhythms in a tradition¬
al percussion context and then applies the
grooves to the kit. A twelve-page pamphlet pro¬
vides two-bar transcriptions that are especially
helpful for the songo drumset parts.

Above all, it's the inspired band perfor¬
mances that make this video memorable. The
percussionists hit high gear with Danilo Perez
on piano, John Benitez on bass, and David
Sanchez on sax. In one incredible highlight,
Ignacio, Giovanni, and Changuito—a Latin
groove dream team—trade solos over a feverish
vamp as smiles bust out all over. When the
jamming peaks, it's hotter than a Havana sun.

•Jeff Potter

GIOVANNI HIDALGO

Conga Virtuoso
(Warner Bros./DCI)

$39.95,90 minutes

Long before Giovanni reached New York
shores, the word was already out about the
killer new conga kid. And this innovator hasn't
stopped growing since. Giovanni's video is pre¬
sented in a bilingual format through the use of
verbal repetition or subtitles. The lessons work
best for advanced players who already have a
firm handle on all strokes. Little time is spent
on analyzing/breaking down patterns, but the
accompanying thirty-three-page booklet covers
that task.

The master demonstrates how conga patterns
evolved as setups expanded from one to three
drums. Following segments cover improvisa¬
tion and techniques in son rnontuno/salsa styles,
rhythms of Puerto Rico, and advanced tech¬
nique/rudiment exercises. The exceptional band
performances feature Danilo Perez, Eric
Figueroa, John Benitez, and David Sanchez
along with percussionist guests Ray Romero
and "Changuito." Drummer Ignacio Berroa
adds kit on one number. Brace yourself; this is
one exhilarating percussion section.

Getting a close-up look at Giovanni's star¬
tling technique is a joy ride. With his powerful,
economic stroke, rapid doubles, speed, and
accuracy, you find yourself incredulous, pump¬
ing the rewind button and wondering if you've
just witnessed the latest in special effects.

• Jeff Potter

MODERN OCTOBER ' =?V5

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A D Ifferent View

Al K Meola

Drummer First, Guitarist Second

by Teri Saccone

A peerless guitarist whose jazz and fusion fretwork is
world-renowned, Al Di Meola isn't someone most
people would consider when thinking about drums.
Surprisingly, though, Di Meola is an accomplished
drummer. In fact, he secretly confided that he's
always been a drummer "first" and a guitarist "sec¬
ond." This from the man who has consistently rede¬
fined the boundaries of guitar technique over the past
twenty years through his work with Chick Corea's
Return to Forever, alongside fellow guitarists John
McLaughlin and Paco De Lucia, in his acoustic trio
project, Rites of Spring, with Stanley Clarke and Jean-
Luc Ponty, and on numerous solo albums.

Late last year, Al released his latest guitar master¬
piece, Orange And Blue. He demoed all the drums
himself, and retained his own drum tracks for two of
the songs. It makes one wonder whether—had events
taken a different turn—Di Meola might have graced
the cover of Modern Drummer rather than Guitar
Player!

AD: Drums were my first love. When I was a little
boy attending a parade in my hometown, the massive
sound of the drums was very attractive to me. I got a
set of drums soon after. I heard a lot of Latin music on the radio
while growing up in New Jersey, and as a teenager I used to go
into New York to the clubs. I absorbed anything that was rhyth¬
mic.

I don't know exactly what it is, but Latin drumming and percus¬
sion are things that I feel very at home with. I guess it's something
that you're bom with: the ability to play against the clave in Latin
music. A lot of northern Europeans and Asians never develop the
sensibility for Latin music; it's just not within them. It's a lot easi¬
er for southern Europeans, Africans, and of course Latinos to
develop. There are exceptions to this, but it's rare.

TS: Did your interest in guitar eclipse your interest in the drums as
a teenager?

AD: My love for the dmms has never diminished. But the electric
guitar was still a relatively new thing when I was seven years old
and began playing. So I began taking serious guitar lessons from a
jazz teacher when I was eight. I was just obsessed, driven. There

wasn't a minute that went by that I ever thought I was going to do
anything else but play music.

My ability to work with rhythm has been a tremendous tool for
my composing. It's the one aspect of my creative abilities that I'm
really proud of. I apply what I feel rhythmically to what I play on
the guitar. I'm probably known for rhythmic guitar playing.

TS: You come up with the drumming for your albums, including
your latest release, Orange And Blue.

AD: Yeah. In fact, I laid down all of the parts before I went into
the studio. Some of the drumming parts were kept from the origi¬
nal demos that I did. They were already worked out to the point
that to have someone leam them would have taken forever. It was
a thrill for me to get compliments from guys like Peter Erskine,
Steve Gadd, and Manu Katche when I played the parts for them. I
had wanted them to go in and play those parts themselves, but
when they heard the drumming they went, "Wow."

TS: Where do you draw the line at keeping your own drum tracks

MODERN DRUMMER OCTOBER 1995

or using another drummer for your albums?

AD: I 'm somewhat limited if I have to play a whole set of drums.
My coordination with my feet could not come close to what they
do. But I think that my rhythmic ideas on the snare and cymbals
are very specific. I've been getting compliments—from drummers
I look up to—on some of those ideas.

TS: Speaking of the drummers you look up to, let's discuss some
of the drum stars you've worked with over the years, starting with
Lenny White.

AD: I 'm really a time freak, so that's always an important factor
when it comes to working with any drummer. Lenny's sense of
time was very, very good, given the fact that in the days of Return
to Forever we never used a click track. Lenny was also one of the
best when it came to dynamics. He had absorbed all of the Tony
Williams school of drumming, R&B, and certain kinds of rock
drumming, so he had a good grasp of those three musical idioms.
That made him very special. Lenny moved between jazz and rock
very well. He could play really light, really heavy, or very funky,
and that gave him a wide range to work in.

In the days we played together in RTF, the music was busy and
the object was always to fill in the gaps—and Lenny was very
good at that. I liked everything about working with Lenny. He was

very opinionated and passionate about what he thought. He knew
what he wanted and what he liked and was quick to be vocal about
that. And his playing was superb; he was a true artist.

TS: Phil Collins.

AD: I first met Phil in 1981 when I was in London recording with
John McLaughlin and Paco De Lucia. Julian Lennon and I went to
see Genesis perform. When we went backstage, Phil asked for my
autograph, and I was shocked! A year later, when I was writing
Scenario with Jan Hammer, I thought of inviting Phil to guest on a
track. He was in the States on a solo tour, and he took his day off
to fly to Colorado and drive up to the mountains where we were
recording. He came in, played, and left. We barely had time to talk
because his schedule was so tight. But I was really honored that he
wanted to be on the album—and I knew he didn't do it for the
money! Phil's playing is always very inventive. I've always liked
his approach to pop and rock; it's very solid. It never overshadows
the music; it's just the perfect presence. There's something about
British drummers. Bill Bruford had been in the studio with us the
day before Phil, and I remember thinking about the similarities
between them. They both liked to experiment with odd times and
huge drum sounds, and you can really see why they've become
role models for a lot of American drummers.

You J re already a good drummeri right?

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TS: Simon Phillips.

AD: Simon's dynamics are pretty explosive. He's a powerhouse
drummer, very inventive and full of energy. A drummer who's
aggressive like Simon fires you up as a soloist and pushes you to a
place where you can create some real excitement in the music.
Simon's a busy drummer, in the good sense. He's well-known for
his fills and pyrotechnics. That's what I always liked about him—
that, and his great spirit on the road. He was always "up," always
pumped for the show.

TS: Steve Gadd.

AD: Steve's time is the most amazing of any drummer I've
worked with. He has a built-in metronome in his head. Everything
around him can be going faster or slower, but he manages to play
as if there's a click track, and it's just natural. His feel is also com¬
pletely incredible—so good that you never need any flashy fills.
He knows how to resist the flashy stuff and somehow still stand
out. His sound is so satisfying and enveloping. Steve is also one of
the drummers with the best Latin feel, and because that style is
reflected in a lot of the music I write, he has quite a dramatic
effect on my guitar playing. In fact, he's been sort of an idol for
me in a funny kind of way. If I had stayed a drummer, I would
have wanted to play just like him.

TS: Manu Katche.

AD: I ve always admired Manu's work with people like Peter
Gabriel and Robbie Robertson. He has an unorthodox approach—
an offbeat way of applying rhythms that I can relate to. So I want¬
ed to hook up with him for a recording. I hand-picked a piece for
him on Orange And Blue, and he just melted into it. Manu is a
very sensitive drummer who gets into the music and feels it
deeply.

TS: Peter Erskine.

AD: I always knew Peter was a great drummer, but he surprised
me a lot when we finally worked together. We come from differ¬
ent schools of playing, so I wasn't sure what it would be like to
work with him. But he came into the studio with tremendous
enthusiasm, and he was willing to tackle pieces I didn't think he
would want to play on. He really added to the music. He's the ulti¬
mate poetic drummer—very lyrical and a beautiful colorist—but
he's also a pocket player. He seems to encompass the best of all
the drummers I've worked with. He knows instinctively where to
put the right statement at the right time. And he also has one of the
most outstanding drumset sounds I've ever heard. During the
recording of Orange And Blue we tried several duets with acoustic
guitar and drums. At the end of a very long day we'd be so high on

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what we'd done that we didn't want to leave the studio, so we'd
just start improvising. The duets didn't end up on the album, but I
would really like to release them someday. It's really exciting stuff
that I think people would want to hear.

TS: How often do you play drums or percussion for an audience?
AD: I play every night. I get on the timbales and it's the most fun
part of the show for me. [laughs] I duet with my conga player and
the crowd goes crazy.

TS: What do you think would have happened had you stuck exclu¬
sively to the drums?

AD: I would have been a much better drummer than a guitar play¬
er. Guitar was never second-nature to me. Guitars meant pain. But
drums and rhythm have always been second-nature to me. In all of
my groups, I've had to show drummers specifically how parts
should be played. Certain guys like being shown things; others
have a hard time with that. I have a really keen sense of what I
want on drums. To this day, I love to sit down with any drummer
and play. I get along much better with percussionists than I do
with other guitarists, because they're all like brothers. I'm a per¬
cussionist/drummer at heart.

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MODERN DRUMMER OCTOBER 1995

Head c a Ik

The Twisted Torso

by Ron Hefner

Much has been written in MD about the
various physical ailments suffered by
drummers—carpal tunnel syndrome, ten¬
donitis, back pain—and many of us have
experienced one or more of these prob¬
lems. But we generally accept these things
as "occupational hazards." After all, play¬
ing the drums is a physically demanding
activity. And we put up with the aches and
pains because the music comes first, does it
not? Generally, it does, but there are ways
to minimize these occupational hazards.

In order for us to do this, it's important
for us to adjust our setups to make playing
as comfortable and natural as possible. For
example, many drummers have experi¬
enced relief from wrist and hand pain by
altering the angles of their cymbals.
Drummers with back trouble sometimes
find that a change of seat height helps to
minimize the problem. There is one aspect
of our setups, however, that seems to have
been somewhat neglected: the lateral
aspect.

Several years ago, Rick Van Horn wrote
an article in his Club Scene column titled
"Ergonomics" (April '88 MD). Rick point¬
ed out that virtually all drummers sit with
the bass drum facing directly toward the
audience. The problem with this, said Rick,
is that it forces the body into an unnatural
position. When seated in a chair with both
feet on the floor, we can see that our feet
naturally want to angle out somewhat.
Logically, therefore, we should turn the
bass drum somewhat to the right.
Otherwise, the right foot will be angled
across the pedal. Or worse, if the right foot
and leg are perpendicular to the pedal, the
rest of the lower body will be forced to the
left while the upper body wants to turn to
the right to face the audience. (By the way,

my apologies to all you "lefties" out there;
simply turn this article around the other
way.)

This made eminent sense to me when I
read it. Why indeed, I thought, must the
bass drum face directly forward? I went
into my gig and checked out my setup.
Sure enough, I had been sitting there four
hours a night, six nights a week, with my
right leg and foot perpendicular to the bass
drum. My left foot was forced to the
extreme left, which I accommodated by
angling the hi-hat pedal. The snare drum
and mounted toms, however, were directly
in front of me, and the ride cymbal and

floor tom, of course, were off to the right. I
realized that I literally had to turn the upper
part of my body 15° or 20° to the right in
order to play the set. (See Figure 1, in
which the white arrow shows the direction
of the lower body and the black arrow
shows the direction the upper body wants
to face.)

I decided to take Rick's suggestion and
angle my bass drum to the point where my
entire body was naturally facing forward.
(See Figure 2.) In order to do this, I had to
make some changes in the mounted toms—
which was no big problem. I left the right
one on its mount (moving it toward the

i

t

i

Figure 2

MODERN DIMMER: GCTUSfR 1

center of the bass drum) and put the left
one on a snare stand. The difference was
amazing! Not only was it easier to get
around the set, but many of the various
cramps, aches, and pains I had experienced
during those long sets began to disappear.

Note that Figure 2 is essentially a picture
of the way most double bass drummers set
up. Laterally speaking, this setup is perfect:
The drummer is right in the middle, facing
straight forward, with the feet falling natu¬
rally on the pedals. Basically, what I did
was emulate this setup, putting the hi-hat
where the left bass drum would be. I took
the "ergonomic" approach Rick had written
about in this article: I adjusted the set to fit
my body, rather than the other way around.

Problem solved, right? Well, yes—at
least for a while. As most gigs do, that one
came to an end. I decided at that point to
start free-lancing—playing mostly one-
nighters. Because of the "schlep factor"
involved, I cut down to a four-piece set for
most gigs. I became preoccupied with the
logistical aspects of one-nighters—travel¬
ing time, differing hours every night, set¬
ting up and tearing down as quickly as pos¬
sible—and I became less concerned with
ergonomics. I had no major physical prob¬
lems, except for a twinge now and then that
I attributed to hauling around that dreaded
hardware case.

This brings up another factor that needs
to be considered: the sheer number of
hours behind the set. Rick noted in his arti¬
cle that the "club scene" drummer is the
one who needs to be the most concerned
with the physical aspects of his setup. A
steady club gig usually requires a lot of
hours behind the drums. Mine had been
twenty-four hours a week. When I started
free-lancing, it went down to twelve or fif¬
teen—and most of the gigs were three
hours. Many drummers, of course, put in
even fewer hours than that. Drummers on
the concert circuit may only play for an
hour or so at a time; a lot of part-timers
only play on weekends. This, I think, tends
to make the drummer less aware of awk¬
ward or unnatural playing positions. Before
it gets to be a problem, the gig is over!

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In my case, the question of ergonomics
came back to haunt me. I relocated to a
more seasonal area where, during the
busiest time of the year, I was doing long
strings of one-nighters—sometimes ten or
more in a row. After a couple of years of
this, the old back problems flared up again.

I went to a chiropractor for adjustment,
expecting the usual lecture about picking
up heavy hardware cases and slumping
over the drums. The doctor examined me
briefly, then had me stand up and walk
around the room. He instructed me to stop
and stand in front of him, facing him head-
on. When I did this, I felt a discernible pull
in my lower back—and my upper body
wanted to turn somewhat to the right!

"You have a twisted torso," he
announced, pulling up a chair for me.
"Show me how you sit when you're play¬
ing." I then did what 99% of all drummers
would do: I put my right leg straight out,

perpendicular to the bass drum, and had to
turn the upper half of my body a bit in
order to face the doctor. How quickly we
forget!

The doctor explained that, if the spine is
forced to twist/or a long enough period of
time, the back muscles will eventually
begin to tighten up—even go into a
spasm—in an attempt to bring things back
into alignment. The more hours you work,
the more you need to be concerned.

Of course, I already knew what to do
about the problem, and I quickly reverted
back to my "ergonomic" setup. Since I
now have to haul my stuff around, I made
one change to lighten the load: I multi-
clamped the mounted tom to the left cym¬
bal stand so I didn't have to carry an extra
snare stand. (If you think this is insignifi¬
cant, go to your music store and pick one
up!) Now I'm able to put the bass drum
where it belongs, instead of putting my leg

where it doesn't belong.

I urge all drummers to check this out. If
you use a rack, it will be an easy adjust¬
ment because the bass drum is usually
unencumbered by toms and cymbals. If
you use traditional mounting, arrange the
bass drum first, so it's naturally aligned
with your leg. Then make whatever
changes necessary to set up the toms. Your
body will thank you for it—and your bass
drum technique will improve.

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11's said that iln 1 basis of good drumming is to simply “play for the music”.
That bring line, any player who's dedicated to filling this fundamental vet
sometimes anonymous role can become a good drummer. “Playing for ihe
music has very little to do with technique or awards.” says renowned drum¬
mer/recording artist Jim Kellner. “It's really about connecting the music from
your ears and hands to your heart and mind. That's a quality I see in all my
favorite musicians— no matter what kind of music thev plav. voting and old
alike."

MODCRn

DRunmeR

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Percussion c oilntj

Getting The Right Vibe:

Are Mallet Instruments For You?

by Ed Hartman

How would you like to double your gigs and learn keyboards at
the same time, simply by using all of your old drum chops? The
answer is to start learning mallet percussion, such as vibes, marim¬
ba, xylophone, or bells.

It's not that difficult for drummers to take their drum techniques
and put them on mallet percussion—and even make money doing
it! Very few drummers know how to play these instruments; in the
city where you live, there are probably only a handful of mallet
players—and they get all the gigs! Jazz groups, Broadway shows,
and lately even rock music make use of mallet instruments. And
by learning melody and harmony (chords), you'll develop a better
understanding of what the rest of the band does. It will help your
drumming in a number of ways.

What kind of instrument should I get? There are two basic kinds
of mallet instruments: wooden-bar instruments, including marimba
and xylophones, and metal-bar instruments, including the vibra¬
phone ("vibes") and bells (or "glockenspiel"). The best marimbas
and xylophones are made of resonant rosewood. The xylophone
covers the high range, like a violin, and the marimba is the lower
range, like a cello. The bells are the smaller- and higher-pitched
instruments, like a piccolo, while the vibes are the lower range,
like a flute. Bells are a great starter instrument for kids, and are
used in marching band ("bell lyra"). However, bells don't really
make it in rock and jazz. The vibraphone, on the other hand, is a
versatile and portable instrument used often in popular music.
(Vibes have motors that can give them the "wa-wa" sound you'll
recognize from old horror movies and lousy '50s TV shows.)

Where do mallet instruments come from? For many thousands
of years in Africa and Asia, people have banged on pieces of wood
and metal to create rhythmic sounds. Simple scale instruments

P
R
E
S
E
N
T

and

/vtooeRfi

DRummeR

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MODERN DRUMMER OCTOBER IW5

were first created (do, re, mi...). Sharps and fiats were added later.
African marimbas ("balafons") are made of wood bars suspended
over gourds. The gourds act as "resonators" or amplifiers for each
note. Each gourd (or the modern tube resonator) is tuned to the bar
above, just as a pop bottle has a pitch when you blow over the
opening.

In Asia, metal instruments such as the gamelan (tuned cymbals)
were forerunners of the vibes. As the music became more com¬
plex, so did the instruments. Marimbas came over to South,
Central, and North America with slaves in the eighteenth and nine¬
teenth centuries. The wood from South and Central America, espe¬
cially Honduras and Brazil, is often very rich-sounding—and very
expensive—rosewood.

During the vaudeville era, music such as "Flight Of The
Bumble-Bee" was played by xylophonists in the U.S. The Deagan
Company (now owned by Yamaha) was the first manufacturer of
mallet instruments in the U.S. In the 1940s, as jazz took off, vibes
were introduced. Because a vibraphone has longer note sustain, it
is a versatile instrument for jazz, rock, and pop music. Great jazz
artists include Lionel Hampton, who performed with the "King Of
Swing," Benny Goodman, in the 1930s. Lionel is still playing
today. Other vibe players to listen to include Red Norvo, Milt

STRAIGHT

When you're Gregg Bcsonntta. *nl pu play a wide
ranely of styles yrift aflfsts that Include Maynard Ferguson,
DawW lee Rotfcfcma Marta, Gw M and Joe Saunael.
so nasne a lew. you hare to be sure row drums are
pntfudne the best sound possible
Gregg's sure.

Gregg uses SIMS __

Von Ml use RIMS

Jrinc out you drill shell's nah.-'aL SH
y* 'urtii Tisr’el -Ah b y vr>pwi * flB

rt properly and safety! ’^^3

Rum the highest singing Nam to the nastiest,
nwibung (bur ton. ho tuning w stately prebtaits.
lint pure nrait .1 fttH sustaining tom.

And if your iwt using JtiMS wta! are you using? _

tfou're probably not even reading this ad!

Yoo're probably out shoppbg tor
toilet paper and duct tape.

Do yourself and your shells a

tow and bice Gregg ffissonotte's, word tor L,,

VJWS m&lw •jrrtli ibHlic/rji#< 1 1'iUJ-M

1 Fi-'iMr^ioi. UN
kiaffnitfalrjm k-
. UN \M
Ri'llI.mjflS I 27 . 2 M 5

' H X v -

PUreCusstDii

UOOCflN DB.UMMLR OCTOBER 1995

For more information
on protecting your
heating call:

...HEARING IS PRICELESS

A Program of the House Ear Institute,
Los Angeles

213 ' 483'4431

or urite /or Free Ear Filters

2100 W. Third Street,
Los Angeles, CA 90057

Liberty Devitto
Drummer with Bitfy Joel,
HIP Advisory Board Member.

SM APHBt SVSTtMS LTD

Jackson, Cal Tjader, Victor Feldman, Dave Samuels, Dave
Friedman, Jay Hoggard, and Bobby Hutcherson.

In the 1960s, Clair Omar Musser founded the Musser Company,
which eventually combined with the Ludwig Drum Company. At
that time Gary Burton became known for his fusion and four-mal¬
let techniques. These days, large concert marimbas are mostly
found in universities, where students play classical and contempo¬
rary music. In the classical field, great marimba players to listen to
include Leigh Howard Stevens, Keiko Abe, Vida Chenowith,
Gordon Stout, Linda Maxey, Evelyn Glennie, Julie Spencer,
Nancy Zeltzman, and William Moersch.

Okay, why should I leam mallet instruments? Again, learning to
play mallet instruments is a great way to leam keyboard theory
(piano) while using your dmm technique at the same time. Next
time you're in a music store or school that has a mallet instrument,
try playing your singles, doubles, and paradiddles on the bars. As
you leam your notes and scales, you can fuse all of your great
snare drum technique and come up with wild jam sessions. And
the benefits of learning how to read notes help you communicate
to other musicians in your band.

Where can I get more information about instruments and
lessons? Contact your local music store, especially dmm dealers.
A few local drum instructors, especially with college percussion

MODERN DRUMMER BACK ISSUE CLEARANCE

All clearance bock issues are available
at $4.00 per copy,

ORDER FIVE OR MORE
BACK ISSUES—GET ONE
FREE!

□ #45—JULY 1983

Steve Gadd, My ran Grombadw, Drumsticks,

□ #50—DECEMBER 1983

Cad Palmer, Simon Kirke, Guide To Drum
Computers.

□ #65—MARCH 1985

Roger Tayor, English Reggae, Jon Van
Ohlen, Inside Premier,

Q #66—APRIL 1985

51y Dunbar, Steve Shoeffer, Chico Hamilton,
Getting Your Drum Book Published.

□ #67—MAY 1985

Alan Dawson, Steve Ferrone, David
Robinson, DJ. Fantana.

□ #69—JULY 1985

Rad Margenstein, Kenny Malone, Tommy
Campbell,

□ #70—AUGUST 1985

Larry Mullen, Jr., George Grantham, Frankie
Dunlop, Inside Sonar,

□ #71—SEPTEMBER 1985

Jeff Watts, Vlnnie Appice, Geixige Brown.

□ #72—OCTOBER 1985

Chris Porker, Chris Slade, Drummers Of
Atlantic Cety-

□ #74—DECEMBER 1985

Tony Thompson, Nicka McBrain, Paul
Wertfco,

□ #75—JANUARY 1986

MD*s 10th Anniversary Issue, 1st MD Sound
Supplement: Studio Drum Sounds.

□ #76—FEBRUARY 1986

Roy Haynes, AJ. Pera, Jimmy Fadden, David
Colored.

□ #77—MARCH 1986

Jeny Maratta, Marvin Smith, Manny Elias,
Buddy Will jams,

□ #78^APRIL 1986

Ed Shaughnessy, Don Baldwin, Jerome
Cooper, Ray McKinley, Ted McKenna,

□ #79—MAY 1986

Craig Krampf, Teny Williams, Alex Cooper,
Armand Zildjicn

□ #80—JUNE 1986

Kenny Aronoft, Joe English, Doane Perry,

MD Sound Supplement; Focus on Hi-Bat
by Peter Erskine,

□ #81—JULY 1986

Billy Cobham, Tico Tones, Jeff Hamilton,
Readers Pall Results.

□ #82—AUGUST 1986

Steve Smith, Bill Gibson, Joe Franco, Terry
BohIo: Style & Analysis.

□ #84—OCTOBER 1986

Dove Weckl, Bobby Blotter, Debbi Peterson.

□ #85—NOVEMBER 1986

Joe Mqrallo, David Uosikkinen, iBarriemora
Bartow, Staying in Shape: Part 2.

□ #99—JANUARY 1988

Phil Gould, Richie Morales, Chick Webb,
Drumming & Relationships.

□ #102—APRIL 1988

Danny Gotflteb, Alan Childs, The Downiown
Drummers.

□ #I10—NOVEMBER 1988

Jeff Porcara, Rayford Griffin.,. Rikki Rockett,
Drums On Campus

□ #111—DECEMBER 1988

Chad Wackeimon, Done! Hampton, Allan
Schwarteberg.

Yes, I'd tike to complete my collection of classic Modem Drummer magazines!

All back issues ore $4.00 each (including postage and handling).
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MODERN DRUMMER OCTOBER 1995

FREE! DISCOUNT DRUM CATALOG

degrees, can get you started. (Beware of boring teachers!) A num¬
ber of books are available for mallet instruction, and any books
written for guitar, flute, piano, or violin will help with reading,
melodic playing, and basic music theory. In general, jazz and clas¬
sical theory books can also help, especially with the aid of a piano
or keyboard instructor. (I especially like the Sessions books by
KJOS Publishing.)

Look in the local and neighborhood classifieds too. Your local
musician's union or music school bulletin boards may also have
equipment and instruction leads. There is the World Percussion
Network, with classifieds through the Percussive Arts Society
(PAS), an international organization of professional and student
percussionists. The best places to compare instruments are at trade
conventions like the Percussive Arts Society International
Convention (PASIC).

How much does a mallet instrument cost? You can spend any¬
where from $100 to $13,000 for a mallet instrument. Like any
product, you get what you pay for. Cheap materials fall apart.
Expensive materials may be more than you need. Here are some
price ranges (ranging from used to new): marimbas, $500-
$13,000; xylophones, $250-$2,500; vibraphones, $500-$6,000;
bells, $75-$ 1,500.

Who makes mallet instruments? Yamaha, Saito, Sonor,

"T” SHIRTS

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Bergerault, Premier, Adams, Musser (Ludwig), Kori, Malletech,
Marimba One, Decatur, DeMorrow, and Ross all make a variety of
instruments for students and pros. KAT makes electronic MIDI
trigger pads arranged in a mallet keyboard style, and K&K makes
separate trigger systems to attach to existing mallet instruments.
Both trigger systems allow a mallet player to sound like any other
instrument.

So what should I do first? Ask yourself if you are willing to
learn. You might consider taking lessons on mallets as part of your
investment. Talk to a few music teachers, especially percussion
instructors. They'll be able to give you more insight on transfer¬
ring your drumset techniques to mallet instruments and which
instruments you might be interested in pursuing. But remember the
bottom line: The more versatile you are, the more gigs you'll get!

Ed Hartman got his first set of vibes when he was fourteen. He has
recorded and performed with numerous bands, orchestras, and
dance and theater companies. His solo albums Marimbells Of
Christmas and The River have received critical acclaim. Hartman
is currently touring nationally as a Yamaha clinician.

MODERN DRUMMER OCTOBER 1995

EROISSIVE ARTS
SOCIETY
INTERNATIONAL
CONVENTION '95

November 1-4,1995

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Lawton OK 73502

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Shop calk

A Non-Slip Tip

by J.J. van Oldenmark

The best material to use for a "drum rug" might not always
actually be a rug or carpet. I use a rubber mat with a corru¬
gated or "ribbed" surface. In Holland (where I live) this type
of mat is used as a walk-in rug for hospitals, and is also used
as safety surfacing on stairs.

The rubber mat material is fairly inexpensive and can usu¬
ally be found in home/builder's supply stores and
flooring/carpeting stores. It comes in rolls, so you can
choose whatever length you need. It's sold here in 1.2-meter
widths. For my set—a six-piece Brady mounted on a drum
rack with sidebars—I use a piece of matting 1.6 meters long.
When folded up the mat fits easily into a 20" bass drum
case.

I've made markings on the rubber matting with a white
waterproof marker to indicate where the rack and stand legs
go; these markings allow me to locate everything on the mat
the same way each time. (For drummers who don't use a
rack, it would be equally easy to mark the positions of all the
feet of your free-standing tripods.)

I've also glued Velcro in specific
spots on the matting to secure my ped¬
als. Because I have everything totally
memory-locked on my drum setup,

I'm able to build my kit up very
quickly.

To prevent the bass drum spurs
from poking through the matting, I
glued two extra pieces of the rubber
material together, then glued them
both to the mat where the spurs are
positioned (using rubber cement). The
material is 2mm thick, so the distance
from the sharp points of the spurs to
their own rubber feet must not be
more than about 5mm.

As you can see from the photos, the
mat looks neat. It's much easier to
keep clean than a rug, and I don't
have any more little pieces of rug
material in the hinges of my pedals.

The reflective rubber surface also
helps produce a great snare sound!

MODERN DRUMMER OCTOBER 1995

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1&95. and you can receive a top-grain leather
jacket bearing the Yamaha drums logo.
Check with your Yamaha Pro Drum Network
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It s a great way
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Zig Wajler studied with such notable teach¬
ers as Joe Porcaro, Steve Houghton, Chuck
Fiores, and Gregg Bissonette. He also
attended Musicians Institute in L.A. Today
he draws on that impressive musical educa¬
tion to help him play hot contemporary
music in a variety of styles for appreciative
audiences of thousands—most of whom are
under three feet tall. And he does it in a cos¬
tume that features more than sixty yards of
orange fringe.

Zig (in the character of "King Louie," an
ersatz orangutan) is the drummer for The
Animal Band, one of America's most popu¬
lar and successful
musical acts for
children. The
group has toured
the country for
seven years, has
played Las Vegas
several times,
and has recorded
three CDs—the
latest of which,
Uncaged, amply
displays Zig's
prodigious tal¬
ents.

Zig also plays for Kat McKool, another
family-oriented act—and still manages to
keep active in the Nashville scene, record¬
ing and performing with a country group
called Stormy Weather, for contemporary
Christian artist James Payne, and with a
variety of other acts. Zig does his perform¬
ing with (and endorses) Slingerland drums,
Cannon drumheads, KAT controllers, RIMS
mounts, and Aquarian sticks. He also uses
Zildjian cymbals.

"My goal with the kids' acts," says Zig,

"is to introduce a new generation of chil¬
dren to music and drumming. Our music is
entertaining, but it also carries an education¬
al message. I'm also interested in writing
music for TV and films. And someday, I'd
like to perform at Radio City Music Hall."

Chuck McPherson

Thirty-year-old Chuck McPherson
comes to his position as a creative drum¬
mer naturally: He's the son of noted jazz
saxophonist Charles McPherson, and he
majored in percussion at Rutgers
University under the tutelage of Freddie
Waits, Horacee Arnold,
and Billy Hart.

Although Chuck has
played (and still plays)
in his father's groups
(his tasty work is a
major element of the
senior McPherson's
Illusions In Blue album), he has also
established impressive credits in his own
right. Those credits include work with
such artists as Wynton Marsalis, Benny
Golson, Kenny Barron, Tommy
Flanagan, and Curtis Fuller. Chuck has
appeared on jazz TV shows with Kenny
Burrell, James Moody, and his father,
and in 1994 he played the West Coast
with Freddie Hubbard and toured Russia

Doug Klug

Doug Klug studied jazz
and big band drumming in
Hicksville, Long Island, at
the Berklee School of
Music in Boston, at the
Armed Forces Music
School in Norfolk,

Virginia, and at the
Mannes School of Music
in Manhattan. But his cur¬
rent gig finds him playing
the blues in Los Angeles!

Doug now drums with
the house band at B.B.

King's club in L.A. His
gig gives him the opportu¬
nity to perform regularly
with King, along with
other name blues artists
booked into the club. At

with his own band.

But jazz isn't the whole story. Chuck
was staff percussionist at Sugarhill
records a decade ago (at the tender age of
twenty), where he recorded with
Grandmaster Flash and Sequence. At
various times he's backed Roberta Flack,
Madonna, Kurds Blow,
New Edition, the
Sugarhill Gang, Regina
Belle, and other rap/
R&B artists. This
groove background
adds another dimen¬
sion to Chuck's musi¬
cal approach.

Chuck currently divides his time
between his father's group, saxophonist
Harold Land's band, and his own main¬
stream group. His talents have garnered
him endorsements with Sonor drums,
Sabian cymbals, and Vic Firth sticks—
and a position as an associate professor
of jazz studies at the University of
California, San Diego.

Collins, and Chuck Berry.
And although he's happy
to be ensconced in a house
band position, Doug's
goals are still "to go to the
top, and to perform with
as many more famous
artists as possible."

Doug plays a Remo
drumkit with Paiste and
Zildjian cymbals. Citing
influences as diverse as
Buddy Rich, the Allmans'
Butch Trucks and Jaimo,
and "all the drummers
with Chick Corea and
Charlie Parker," Doug
feels his playing style is
best defined as "applying
strong, tasty jazz influ¬
ences to blues and rock
'n' roll."

the same time, Doug also
manages to keep his jazz
chops up playing with
Roy Gaines and the Jazz
Crusaders. Tapes of his
playing reveal Doug as a

tasteful, stylish drummer
in both idioms.

Before landing his
steady position, Doug
played shows with such
artists as Dr. John, Albert

If you'd like to appear in On The Move, send us an
audio or video cassette of your best work (preferably
both solo and with a band) on three or four songs, along
with a brief bio sketch and a high-quality color or black
& white close-up photo. (Polaroids are not acceptable.)
The bio sketch should include your full name and age,

along with your playing style(s), your influences, your
current playing situation (band, recording project, free¬
lance artist, etc.), how often and where you are playing,
and what your goals are (recording artist, session player,
local career player, etc.). Feel free to include any special
items of interest pertaining to what you do and how you

do it. We'd also like a list of the equipment you use reg¬
ularly. Send your material to On The Move, Modern
Drummer Publications, 12 Old Bridge Road, Cedar
Grove, NJ 07009, Material cannot be returned, so
please do not send original tapes or photos.

Wl

VOrt BN PBUWtfE OCTOBER I W5

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■S) 1995 Yamaha Corporal ot ^me4ca

fDrumiitie

Send quick, proven tips that have saved you
time, money, or effort to Drumline, c/o Modem
Drummer, 12 Old Bridge Road, Cedar Grove,
NJ 07009. Items can range from equipment
maintenance, repair, or design tips to practice
and playing ideas. Please keep tips to 150 words
or less, and be sure to include your name and
address. We will pay $15 for every tip we pub¬
lish.

I recently decided to invest in mic's and
stands to mike my drumkit. I purchased all
the traditional stuff and headed out happily
with my new toys to my next gig. To my
dismay a problem arose with the bass drum
mic' stand. Due to the small diameter of
the hole in my front head, the mic' stand
had to be placed outside the bass drum,
with a gooseneck attached to get the mic'
into position. The base of the stand was not
heavy enough to offset the weight of the
mic', so duct tape had to be applied at each
gig to keep the stand upright. This created
many headaches for our soundman and
myself, because inevitably the tape would
give way and the mic' would rest upon the
batter head (not good!). To rectify the
problem I bought a small spring clamp at a
local hardware store. I screwed the clamp
into an existing housing inside my bass
drum. The clamp holds a flexible goose¬
neck securely and permits the correct posi¬
tioning of the mic'. This procedure saves
time in mic' positioning, setup, and break¬
down. The whole setup cost around $10—
and it both looks and functions consider¬
ably better than the stand method.

Scott Chidester
Sanger, TX

DRY RIDE CYMBALS

A simple way to achieve a "dry" sound
from a ride cymbal is to clip a clothespin
onto the edge. When you don't want that
sound, simply place the pin on the top of
your hi-hat pull rod. When the "dry,"
muted sound is needed again, the clothes¬
pin will be conveniently handy.

Elizabeth Verhagen
Edmondton, Alberta, Canada

MGDGSM DRUMMED OCTOBER 19,95

-

MOUNTING A SPLASH

For those who are planning to buy an 8" to
12" splash cymbal and can't bear the
thought of spending more on a stand than
you will on the cymbal, here's a sugges¬
tion: Use a hi-hat clutch. Simply mount
your splash cymbal on the clutch in the
same way you would a top hi-hat cymbal.
Then place the splash on your hi-hat stand
above the actual hi-hat cymbals. Now you
have your splash in an extremely conve¬
nient place for accenting and for playing
fills between the hi-hat and snare drum—
and all at a much lower cost than any
stand.

Kyle Casey

Scottsdale, AZ

I have a splash cymbal mounted on a
multi-clamp, which is itself attached to the
tom mount from my bass drum. I've had
problems with the clamp moving when I
play the cymbal, even when the bolts are
tight. Also, the cymbal rattles when the
bass drum is played. To solve this problem
I've wrapped Pro-Mark Stick Wrap around
the tom mount shaft. This not only pre¬
vents the clamp from moving (and from
scratching the stand), it also reduces the
vibrations from the bass drum to the clamp,
thus reducing the rattle I was getting from
the cymbal.

Shawn Legere
Moncton, New Brunswick, Canada

FASHIONABLE BACK SUPPORT

There have been several articles in MD
showing us how to prevent back problems.
But if you already have a weak back, I can
offer a $20 solution. I purchased a Popular
Mechanics Support Belt (the kind you see
delivery people wearing) in the tool depart¬
ment of a local Wal-Mart. This belt is
black with black suspenders, and actually
looks great when I'm wearing a tuxedo
(sort of a "support cummerbund"). It works
great, and it comes in four sizes—all "tuxe¬
do black."

Danny Ryan
Hardy, VA

AFFORDABLE DRUM CAGE

There is an inexpensive way to build a
drum cage just the way you want it. Buy
some 1 l/2"-diameter steel tubing. The tubes
I purchased were 6 1/2' long and cost me
around $6 each. I bought five, and they
were enough to build a three-sided cage
with two levels. Because the steel tubing is
not chrome-plated, mounting clamps don't
slip or slide. Once you've constructed the
cage itself (using either plumbing-style
threaded connectors or drum-rack style
connectors from Cannon, Gibraltar, or
Tama) you just have to mark the position
of your clamps. Then you can paint the
cage any way you want it. This method
saved me over $200 compared to the cost
of a completely store-bought rack.

Pierre Rousseau
Louiseville, Quebec, Canada

CONSISTENT RIM CLICKS

Do you ever have a difficult time finding
that "sweet spot" on your snare drum for
the perfect rim click sound? Here's an easy
solution: Play rim clicks on your drum with
the size stick you normally use. When you
find the loudest, most woodblock-like
click, use a felt marker to mark the position
of the tip or butt of the stick (depending on
whether or not you flip your stick over for
this sound) on the head, just at the edge
near the drum rim. Then mark the angle by
tracing a line along the near edge of the
stick (the edge toward you). This way you
can see the exact spot in which to place the
stick in order to elicit the best sound every
time. (If you use black heads try a white
paint marker available at any art store.)

Brad Schlueter
Hanover Park, IL

INEXPENSIVE RISER SUPPORTS

Here's a tip for the working drummer on a
budget. A way to make a drum riser for
next to nothing is to use five-gallon plastic
buckets as the supports. Get nine of them,
line them up in lines of three, put a couple

of pieces of 3/4" plywood on top, and
voilci ...instant riser! When the gig’s over
just put the boards in the bottom of the van
and stack the buckets inside one another.
Or you can use one or more of them to
stash those extra extension cords and heavy
mic' stand bases. If you happen to have an
old rug or some scrap carpet, attach it to
the front of your riser with thumbtacks or
staples and no one will know that you're
set up on a bunch of buckets!

Robert Sroufe, Jr.

Somerset, KY

Note: The tips presented in Drumline are sugges¬
tions based on The personal experience of individual
drummers, and are not necessarily endorsed or rec¬
ommended by Modern Drummer magazine. Modern
Drummer cannot guarantee that any problem will be
solved by any Drumline suggestion, and cannot be
responsible for any damage to equipment or person¬
al injury resulting from the utilization of any such
suggestion. Readers are encouraged lo consider
each suggestion carefully before attempting to utilize
any Drumline tip.

We have programs from One
Day to One Year!

Full-time Programs:

• 4 week Prep

• 10 week Certificate

• 6 week Advanced Certificate
'95 Fall Semester: September 11

College extension credits now
available thru Capital University,
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Drummers
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drummers

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541 Avenue of The Americas
New York, NY 10011 USA

(212) 741-0091/691-3547 fax

If you’re a drummer
you need to watch

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DRUMST6 is a Cable TV Show
FOR DRUMMERS.

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r Get into our head.

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Wen to the difference our oversized curved rimi'miH

More sustain, resonance, and volume, because the heads on our Alpha
Series Congas don't touch the sides of ihe shell. This allows the drum to ]
produce the deepest bass and ihe sharpest slap you've ever heard.

Alpha Series Congas sound better and stay in tune longer,,,
to hear it for yourself - get into our head.

Send 11.00 lor a odor catalog to: Rhytfim Tech Inc. 29 Beech wood Ave, New Rochelle, NY 1QB01

MO D EftN DRUMM Eft OCTOa E ft 1 995

Jjidustry Hajtpetujujs

International Dun Month Activities

In an effort to build on the success of International Drum Month
(November of each year), the IDM Steering Committee has
announced the expansion of the percussion industry's efforts to
promote drums and drumming. This year's activities will include
the previously successful Drum Month radio, print, and music-
dealer promotions in November, as well as a national sweepstakes
that will take place during August, September, and October. In
addition, a series of public service ads drawing attention to the
connection between music participation and abstract thinking abil¬
ities is being prepared for publication in both consumer and trade
magazines throughout the year.

The "Ultimate Dream Drum Sweepstakes" planned for August,
September, and October will award over one hundred travel and
product prizes, including four first-prize trips for two to meet one
of several world-renowned drummers. As of press time participat¬
ing drummers include Bill Bruford, Matt Cameron, Debra Dobkin,
Chad Smith, Simon Phillips, and Sean Kinney. In addition, one of
the first-place prizes will be a trip to attend the Percussive Arts

Society's International Convention in Phoenix, Arizona
(November 1-4, 1995), where major drum artists such as Terry
Bozzio, Clayton Cameron, Ricky Lawson, John Robinson, and
Sheila E. are scheduled to appear.

Six second prizes will consist of complete drumkits (including
heads, sticks, cymbals, hardware, and accessories) from the
world's leading manufacturers of drums and percussion. One hun¬
dred third prizes will include a wide variety of drums, Latin and
ethnic percussion instruments, sticks, drum books, instructional
videos, electronic drum controllers, and drum machines.

Individuals are encouraged to enter the drawing in two ways:
both by returning the "1st Chance" entry coupon found in full-
page ads in Musician magazine during August, September, and
October, and by obtaining a "2nd Chance" entry form from either
a participating music store or by sending a self-addressed, stamped
envelope to IDM's New York office (38 W. 21st St., 5th floor,
New York, NY 10010). No purchase is required, but only one "1st
Chance' and one "2nd Chance" entry per person is permitted.
More than 500,000 entry forms are expected to be in circulation
during the sweepstakes event.

Johnny

Vidacovich lead¬
ing his own group
at the Louisiana
Music Factory

New Orleans Jazz And Heritage Festival

The city of New Orleans recently played host to the 26th annual Jazz and
Heritage Festival, held April 28 through May 7. In concerts and work¬
shops the styles of music ranged from traditional and contemporary jazz
to blues, ragtime, Gospel, Cajun, zydeco, Afro-Caribbean, folk, Latin,
rock, rap, country, and bluegrass. Great drummers who performed at the
Festival included: Willie Green (with the Neville Brothers), Zigaboo
Modeliste (making his first Festival appearance in ten years), Johnny
Vidacovich (who performed with various artists and groups throughout
the entire week), Bob French (a veteran master of the New Orleans sec¬
ond-line style), Idris Muhammad, Gerald French, Ernest Elly, Ricky
Sebastian, zydeco drummer Cruz Fruge, Herlin Riley, and funk master
Herman Ernest.

Joseph

’’Zigaboo”

Modeliste

Ernest Elly with the
Doc Cheatham band

Bob French with
some of the same
musicians who
played on the
great New
Orleans R&B
records of the ’50s

Ricky Sebastian with
the Herbie Mann
Reunion Band (fea¬
turing ’’Fathead”
Newman)

Gerald French with the
Preservation Hall Jazz Band

MODERN DRUMMER QCTOBER 1995

The aim of the sweepstakes—and all other IDM activities—is to
enhance the visibility and image of drumming. The ultimate goal
is to significantly increase the currently estimated three million
drummers in the U.S.

The Guiness Book Of Records recently certified Dan McCourt's
drumset creation (debuted in Pontiac, Michigan last December) as
the world’s largest drumkit. The 308-piece set included 153

drums, 77 cymbals, RotoToms, Octobans, timpani, chimes, a gong,
cowbells, blocks, and a doorbell. Completely tuned and playable,
the kit's debut performance was played by Chad Smith. Dan
McCourt had support from McCourt's Music, Pearl Drums, Sabian
Cymbals, and Vater Drumsticks.

The Zildjian cymbal company's A Custom line has been named
"best cymbals" in the 1994 Readers Poll of the prestigious German
music magazine Fachblatt. Additionally, the company recently
hosted the grand prize winners of its 1994 Consumer Drumsticks
Sweepstakes. Those winners received an all-expense-paid trip to
Zildjian's world headquarters in Norwell, Massachusetts to select
a complete cymbal setup with their choice of Zildjian drumstick
artists Vinnie Colaiuta, William Calhoun, Cindy Blackman, or
Aaron Comess. The winners included Monic Reynolds (Detroit,
Michigan), Chris Rosintoski (Painted Post, New York), Samantha
Wiggins-Banks (Houston, Texas), Brian Hogan (Sudbury,
Massachusetts), and Christopher Balsam (Lindenhurst, New
York).

The third annual Festival For Drums And Percussion was
held this past May in Antwerp, Belgium. Coordinated by the
Belgian Drumclub and Muzieknood Music School, the festival
featured four drummers from the U.S.: Bruce Becker, Chuck
Silverman, Tal Bergman, and Robin DiMaggio. They were
joined by Russia's Igor Moltchanov, Dutch percussionists Jerden

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De Rijk and Martin Verdonk (performing
separately), and Belgian Walter Mets.
Industry sponsors included Peavey,
Yamaha, Sonor, Remo, Zildjian, Sabian,
Paiste, Toca, LP, Meinl, Vic Firth, Regal
Tip, and Pro Orca.

In furtherance of their "Hooked On
Drums" promotional campaign, Pearl is
supporting the Bus Green Music Team, a
marching percussion organization for chil¬
dren founded by Minnesota Vikings head
coach Dennis Green, in cooperation with
the Minneapolis Boys and Girls Club. Pearl

is supplying a complete line of marching
percussion instruments to help Green (a
"Hooked On Drums" spokesman) expose
inner city kids to the positive influence of
music. In further "Hooked On Drums"
news, Los Angeles Dodgers catcher Mike
Piazza, (also a "Hooked On Drums"
spokesman) was featured on the June cover
of Sports Illustrated For Kids. A photo
within the feature depicted Piazza playing
a Pearl Export drumkit under the caption
"Catching the Beat!"

Remo, Inc. has announced the appoint-

Robinson

Find Out How Cool It Is To Play
Drums By Winning A Trip To Hang-
Out With Your Favorite Drummer
Or Part Of More Than $50,000 In
Drums And Accessories.

See your local participating IDM ‘95 Drum
Dealer for complete details and entry forms.

If you are unable to locate a participatin'
dealer send a self-addressed, stamped returr
lope to IDM '95 Sweepstakes, 38 W. 21st St.,
New York, NY 10010. No purchase nece
Contest ends 10/15/95. .

November is International Drum Me

Month is orga¬
sms cmddrfisbtf
The

iNTERNATli

Drum M

ming and is spoils
Percussive Arts So<
and the entire Drum'

ment of Tim Ridgway to the newly created
position of marketing manager for music
therapy. Previously an executive assistant
to Remo Belli, Ridgway initiated and
became the managing editor of Think
Drums, Remo Inc.'s monthly newsletter on
rhythm and wellness.

The Sabian cymbal company recently
awarded a fifteen-piece cymbal setup iden¬
tical to that of Mike Portnoy (MD-poll-
winning drummer with progressive rockers
Dream Theater) to fifteen-year-old Steve
Toomey, of Healdsburg, California. The
cymbals were the "Big Prize" offered in
the Contact Card of Sabian's Newsbeat
'94, the company's annual catalog.
Toomey was notified of his win via a
phone call from Portnoy himself. In other
Sabian news, clinician Dom Famularo has
just completed his third educational-perfor¬
mance trip to the People's Republic of
China—as part of an Asian tour that also
included Indonesia and Hong Kong.

Guitar Center's

6th Annua

Drum-Off

Guitar Center, a national musical instru¬
ment retailer with twenty locations nation¬
wide, will be holding its sixth annual
Drum-Off competition this summer, co¬
sponsored by Modern Drummer magazine.
Over 1,500 drummers from all over the
United States entered last year's competi¬
tion; the 6th Annual Drum-Off expects to
be even bigger. Five first-place winners
will be chosen from each of five regions—
Southern California, Northern California,
Texas, Chicago, and Boston. Each first-
place winner will take home a five-piece
professional series drumset. Those five
winners will also be flown to Hollywood,
California for a Master Championship,
where one grand-prize winner will be
crowned the Best Amateur Drummer in
America (and will receive an additional
grand-prize package). Signups for the
Drum-Off competition will be held
throughout September in all Guitar Center
locations. Call (818) 735-8800 for informa¬
tion on the location nearest you.

MODERN DRUMMER OCTOBER 1995

Legend Free-Floating Snare Shell
Inserts have the sound you’ve been
searching for.

Legend created free-floating snare shell inserts for the free-floating
snare you're using now. Legend shell inserts are designed to provide
superior projection, tone and snare response without changing the
character of a free-floating snare.

We craft our shells from hand-selected
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then cure them for a minimum of six
weeks Others don't We include a
brass-grommeted air hole allowing even
tire shallowest free-floating snare to
project a clear, rich tone. Others don't.

We nave a super-thin bearing edge to
give you great sound ike a free-float¬
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has the great sound others don't? Legend,

Whether you're iooking for a snappy 3 1/2' piccolo, meaty 6 1/2",
super-deed 8”. there's a way to get out of your current shell and get
into a l egend. Just sea your nearest Legend dealer and hear how

magnificent your free-floating snare
can sound, it's the difference only a
Legend car make.

END

M S

KAMAN

KafTWl Muse CofpaalBn * ; spend Snam Drums
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U'Nkudienn Sbull'i I iFem-me warronix, u-xifpri-unal
aEi'ihm, iMiuCOli^ii, jjiis sueik^Nt. Cm'Gr&d m 1 a.u> m, pi ||

j-ii'i i'-am fk ulilty. ^iI^l'Si Lia.- t 11 l-im | him I'O Hu-.

m00. . . C A 95479

\ tikid^L' EJruiiks 191!:*-J9Ludwii: !.-ekt h
Shnpc .iiiu I eedy L ouku Rmll.- ■■ L-pan
rev nihE i.seM tenv tell iradi mei ACrfl
sete 11 irukk AI Dre^t - Mrsse. 52b Frr>m Sc .
Wuyitvih.kLC, RI r_L2H42._ it 1 Nm 7d9-1^2,

4m. "rrri 4g7 1 .

\ inVace drums or d ennip-eif resksfations. nc^
iif.iLneLs ditjpied, eufieeted seutc teds and tenj irj
edges, j ep.ni i'l idi u . leimishm^. p^iujl; ojjd EUaeh-nL
■a-liiT. <’uh!iini work by I'niwy WLnkter— maple
•• l' Linen nn. ponder e»nliny =iardtvare. Hnc
liTucn ut orntpleLe st:!. 15 yean: es.iiejiunce. Retail¬
ed terpnek. li.isi. piiL-es ("all P™ Psreu^^H^n. Inc. hi;
\aM|M|k-i • N old 1-kW Blsd Post. MaiiMHi.

: ’I | '■■ rvNi .‘iftX ■ bl IKX £ii rail nf^rihsir hr I nil
he; 1 nuinbr’s

Huffps, lirniBS. HiMps—iKfl- gkks Plat k Iijs' tlnnsi
Iklhips. I'M' SCliiv. IJlilMv illljj £l>Ilii h at Jiluble, Ih
Iln-ti :r Met’, "iwi scylr I ei J vs I y
Ws-ulherm-oslei iiupri^l he.-.ds .iku ;k ^ 1 1 .1 bl-s
H a i n e s M u s i v ,, I 2 I . ‘ 4 1 .1 Si. . S.- 1 1 s -1 <>\ ■ H \
17^70. Tel: i7 3 7)^74-2263.

Ilititaqe ^ Li 11 tncas r

Fir Sale

!■ ret- riiikln L F utuJ«|;[ flufce selee Lmn- ^' 111 1 age
1 mi hi i lt Bk- L Btfltiltes. SliTicpFljDd h:nh-i Kmg^
Urel:-.. h. K /iLdpiuns. ond more' Mu net ba^A guni
.mtee Litya,y. availaWe 1 Viss^Mi.' Vip'.iije I>«uhl
I’ enier 2744 S\ory Drive, rTf^ A A. I hen v. ■ -| -
A r-eli C-SISi m 3*11 nr cid mil

Trei- iipentlui* Tirr ^!MF numher. hwv: bM-

31 MI- W -' Hnv-^ll lr,!Lk

■viODfSw KUMVitR CK 'OilFK l^>S

New stacked I iLl'iil'iJ^ji 'Li blhulk shells, unt sWcAhiek

ness. tiuLnin bntli In order. Choice uf o 2 ill I rulgt* ■;■ l
hcrth nnlLve .md trnpkitl li^i jm.n.. k K., t^^^siiiL^hli
priced. Rutail/wbokkalf, hor he -. 1 I■ i■ nrhlire lu.II
Snaya. PejeusHkUi i I'lLkmptmLMiU ;u U I Ik 532 ilHO.

Vlnlit|ie Drums hire lh* lf|pd^ sound. Huge
scleclicm^-Lodwip. -SlinferUtld. and mons 1 Mtmey-

hiiL'k guarantee. Layaway avjtihlriif! Via;i/MC\ Fret
catalog!! VinliLL'e Drunk Center, 3243 Ivory Drive,
Deportment T>9, Liberty villc, EA 52!k-.7-flS7D. Tel:
15151 6*3-3611 nr call toll free operator lAr KiHI
number. Fax; (51a> 6*3-3101. We buy sell inadu.

The greatest pcrcunston catalog on the pl*ovt!

Nowhere else can you find ;i iskmv div«ke *4is;ttori of

lllL- I ii i; IsCaE L|'.i.il i| V -mil itfle'.l l 1 Spcnri Hf'llul |n:i:cussi<TlP

(il^Eini mcikN. Snd £2 Jiw tdlukbg. Miirdiilfl PdMnsaon.
I TO S- IVuHttac Si . Suite I .Vi K.. Aurora* CO XI II.U 2.
It I (3fl3l 6 %-l 34 X ur cull opstulsir for toll free num¬
ber.

Custom Drum Building— 2- nod 5- day inwnsivfean
she aM and ieil^C of drum aiiLLk i3L|j, covifriri^. S[e:shi
holding, sUjhjij:. WnMiin^. ulwJ hearing edges. I'm
more inlWnuujnn l-iII Thi 1 Orw Cniijigo EHrctfi Scluml
of Wnudwi irking ;a 1 413)529-251*

Wit l K lii liquid Droiti Cm, I Ik Ih-m in via} lucid
dfiin'A. hungm, dniiinhi l.-,. L mbiiniH' lYnsm drums,
custom drums Made by hand played by Jiutid.
Rfi**«flal4y pTiteci. Curtail; Sieve Wright* rS'.Hi| L . |l Ji>-
H AN1 K 1 5 SytUSUhr Si . Nayerdwwre, MD 2 L7-W.

IIiisht'f ,.l i 1 1; - I.--H [!..^ | I'm^uv ■ •«: wn

w,"t, ^irlimit geiting a ivy one sip^el I (us Her
LllteftitfluilziF. Lid.. IM1. but 71. Seville, NY 11 7X2.
Td/hi^lSIhHTI 7275.

Rrand icw Itodd* Rich vfdm tup™ Ruddy Rich
Juu LegensL Dari L l*l7«]?7D r Biddy Rich Jazz
Legend, Pari 1J, IV7S-IVB7. S39.95 each, [jitnt
drum books; Ciene Krupu Kss Lift lV Times by
Unice Citwther £12.95, World itf <«ene hnipu by
Bruce IE. KEaubcr S 1-^95, VHS v idea tape Irene
KcupM .fflar Legend i.to,05, Kin ok Kenny CLuike
bin by Mike Eleiusc^y kZ9.95. Buddy Kidi hmrk^
TrHfhi. Ilic liroifi Wostdrr hy Mel Tonne ^21.^5*
hIso Burt KondL'H book Dfiuunln' Mvn S24.^5. Jdm
FiinH^/cwsM Drum Sl-Kip. ^iXI7-fJ0 ^imoulii Rd
Of an tie City IE. Add S3 per Ivmk

ViWMC uweplod. Cull rfifcKl S'?7 5? H), call

jitor Uh- coll free number.

Nubian t-y iii h;i| riasLuiliiErr Low. low prices mi
Sjbhm A A/A AX jjid Irre (.lei i h tfF>. Free Nmchurr.
Andcrsrm Muiic. 5 1 7 1 North kailway St. S.H
Med h: me Mdl. AJbeitm C 'jlijiUl T! A ItfL iAOl} 526-
5.^»

Mnjor Cuslipm Omni MiinsifitliirtiiK by > 1 orri*<rin
Hiyitller^ NTu*Jr. We JiiinderulL euMmii mopJe drum^
i>» ynur jfpetifitaliuiiit, i Listiim l^quer Hm^bcs yre tHjr
i^rdfllly FiiiMic lisiisliex, rpsiuralkm^. ;lpiU rertnihliiii.e
jilyi:ii iiiluble K(w mi w infunnahiHi coih 16 B 1 i 353-
0135. fa^ 1 60 1 i 353-5700. of ^fite Mnfjrhoti
Bmlhert Muslf, 2233 Fiwy. tfEi Wen. laeksun. STS

mm

Luiupkii- line of Stn-kcs. Otilum one-piecc rm:Jt
ruple riLelJu. w toped KjJi-i K i ijlt :- repaired, e usterik
hull kils. busK lube luj\ rr-ccpvcnng. dnllmi*, hear¬
ing edges, cymbal tEcunimg. hard ware repair,
diatiiiikLirdwure ektnsing. lubdcaliun. parts-. MSdwet .1
Custom Dncni Rr-pikir. Route One, B»o.\ 5i.
Arfmj'lort. LL. fi]jM 2. I'd; ISIS I 64 ±2SU,foll IBI5|
224-I7X2.

Alk-nliun drummers and pcrttiaiiiiiiste If yuuTe
shopping Jot pcrLu^ruai. wc huVt JO.niHl vj. It. jiun-
pjel.ed fri?tL all nuijur-bnuhi pcfcpThkin iT^ms. We've
been serving I3w druinmnig World Inf rtver 2ll y«r:-..
W'lirid-rcfKkVu'iwxl custum dnmi haildiiLg hie >‘lhjb s|>u
ctfic applicutinn Ii vi.hj ^ju shipping for unvihint tit
percussiofl, Lull us last! No one woifcs lusste? fur vl*.
Ini leyt! Free nuLl-nrder caLidog. hmlund Pcim-.^oiu
fl Deenng Avc., Rtwhind, MK WKH. Tel : C207) 775-
22.^1 nr fits (Jt D i 7 WHM 5 T, C«ll i-WW diroetory- Rir
ivvt toll-frtt nrih-r lilbM.

.. Drum I'h-n.kt* hy SUkne. Custom

liJUshes drain re covery. btLOing -^l^es. hurdware
fiihritidion. vi.nUi£v rtMwmiork. snj djurn tcehrical
wrvincs. Tel: <?l^i 482- 7WIS., 6403 Rayrrec Dri 1 .^,
biTl Wayne. Indiana 46^25

E'turl. i'uiuu. Yarikdh.LL Sonor, I’ntmkr, Mjpcy,
l)W, tiMM. Noble £ Cooley* PeflVty, Roltnd,
t> Finns & Atrcs^ripi, AI h uy ^ Ifl sloekl
VhB/Mt7Hbcover WtloaHH', Rll Drum & ITuilur
Cefller, 15171 792-4777,

Klvin pkiyed Isret.^di and KN mo you! REaEr W S
Dr ii ms. mice IN K 7 . speci alines m hnth 1 Al^n
Ludmig. I-I.vsh. elf, W\* Huy. sell. ITiule. Layaways
ivaila&k I 6 l 6 i 34>4-&6DJ- er tall toll frw nperaKir
fnr XtKj number. Fas. tot 6 j 3*3-24^3-

51 turnons SDX di^ttul pertUSslulfc syslvin. Fu lly
loaded 16 Mat s-umpler. SMR RAM, fl^jspy, JEJM13
hard SDX pjd-, hard case, 4i:d cnmplcit
nSimnwn-? digital librnry. Like new t3.5tKk Tel: iBCWJ
322,3824.

Behhy t'LuaK^n\ JnLliLU Dr mu Finn tproiiiinj
kuyviH i;v-{)-Mjtiir. i-ihi.-i iiMie^ Casuh Rood
Row i. : -M. Ajyyle. NY 12^.1 -jI. .^IM I>-k-sSVj.

Vintage lirnm-i are f)ld 'I I merit Old Timers l
\h\mc of die Drum 3 'i-reclne! Send your c lues and
I ee ll.SL rCiLic>=: in. Old hblnil\ F I-"' '• Rum! null}
Line, Cicopuiuti, GH 452^6 Fiu r-Cv^'r 762V

<.iret.iLh. l l'/ 62 , tuacl; eiamoiid, round b.idge
I ?. : I i.t'2 Z S71 11 1. in mi'll i iig Lu-J *f i g U uss ie ■. i: ;u ■- .
6 1.0 * 14. wend. S-^i -1 Cizclsrh 1 L 153, W MF. rmintl
mdge. I ^ 1 7 J 1 SKI H K I i dw ig stinrc. n I , '. 1 ^ 14
vjper-^ensdi^e. S! T 5. /i Id nun X id-! mp Ti de. S75
I el lb LCD fi2J -M765. Ruv L ".' Lajihd^u.ae. PA
IWHIMKI^

'60s SllciEtrlund blue ag:de IB; 12/ 14 ni-atching
c liskvllenl Main* other drum* E'e! i-UUi 366
74*7

«»tei

\i'ntoGf E>nim Center one 1 4'the uorld'v biryeMl
dealer^. Immcdiale Lash Tor l.udviE.. SEiugerland.
Lftdy, C-retsch. k ^ildjuns. ind nwre-— ■.Hinkles.
«r:s. ,liuI enlire LolliMtions l ei: (SlS) fkVA-3613 nr
enll HhU fri.T operator fnrBIHk niimher. 1 -as: i5!5‘
6*3-31(11.

Wan Led t ■ 6 EkCue : ^^h I « dwie. Kngers ser n
IN'I ' I - or ■fli'l 2/1-1 Alsu Orel ^ h mm mm itr

vinpksi. k /.ikljljer n:nj .. I tMmi.hu 1, 1 ( --njubi'l

M 1 4101 26V-4h2«S

VmfiiKt; drums especially (irelHch. I .ill wig. Leeik

l.Tj+ji 1 li yK v‘ r: ;■'::ntv i IVI: r 6 lh) VW-IMVflJ ir
i-all hill I i l i upi 1 minr f is r XEHI 1 nnmhL L r, nr f:i\:

totol 363-24*5.

IriiiiiHdlulf 1 tub Fatdlt Vil-higO nil iim\ ymbiib,
L-i- S inp |n in L-.il V likULgL* Drain Shuip of Wf
I 57 Weir 24[h M New Ymi. NY li'KIll. Tel: i2L2 ■
Dhv-71'.Ihi. * Sl'c (XLi dixpJui ad.

'MK <iitiseR Lil V-Llls lk‘ P-dS' lUum
Ou-lM/li ^unl pljHcd nm.?i.■ >1111:11, Ciiets-uh "Mi 1
KuljlSIi ■ ii iii j ill suEil- Juji -. , pLuIvlEi Jru:ih in emer
nldjjh'eii ;idid ivd viiu- pe^rl, firdSL'h dealeis banner
1 737 1 2 W7.

H uutfid. (.-ameb >^i Cleurfe W uy Wv 1 2 or J3 Lorn
kim Tel. (2I’D " , 7H-2r.2fl

HOOGftM DRUMMER OCTOBER I

Condenser rimrr, microphones. nm-maunl, XLK s.
no Uand n/eUei ru.l p ?■*£[ rii-v-ikiT -4- |i j-i: L . miiy
134^45. \A ■ dny/ranney fcaifc trial. Enlo: ran Klctlrk'
_(fl KundlGview Dr N.L Calgary Mtaru. ( 'mid-.
nVIli? LI: f4f,< ■"* A.P-1 - > E*M. Mm

Tne*\4igv i

Luslunk Si mull ! J !i dlrps "SJuriljjssiif" d T'kiiitxT'l.
Il f iikh| yellnw v. i n 24 L.ur'ni t: - 1 1 ■- 1 haidw . i ■ (3nr li : a
iind 1 Ci i m i j * !■- le ia I ill l ie L - 1 ■ mii i t l* d h.irJ'i', ai- ■M.-.hi

nmtjr other sers te lri*m Far OuJ Music*

7<tflS £ !lH; |1i T-- J .R .! I ” i' I ■-■.ML [N I " I -( I fl I lilj. | If | L

1*F2)3KM132.

Fret! Uniifl chyrh viu tog anil Acutely

rhr iHiti" e^T 1 llniin (‘h-trls iMcmahonhC F p < ? Hv\
247-FJSJ tK NanucLNY 113954-0247 fi,Mui l9|4l
r. CUAJK151

I'rihL'sikiHmuJ Musk, I nr. kqu _i i • rm dr Mi hr j J

S ci ti Lirumji ■— marL-3nrij! u inJ -itfl , Vater -siLks,,
SiihLn . \nihals .uid lLM, lnni I l - M 1 1 1 > Ei ni T-. l 1 101 •

bfil AMS,

< hunitFcun KkJih □ In . h l| lL;l Ii I - slip -\m drum
Cln’nikL Lti'itr I"i iii iij-.i 11 Valley nlcul-ms jud
MT.ti l : or min I u H<>\ s?207, Ken more
9MJS. hai; 0^6 1 -Hh 21 ii LI) h Mj.iI.
GitmSLjhOruiiUiUn

14 4 I'd v. 4i re has |U*t f.swcch Nui: ncu .md
LL j I kii^i'i'fi ■. ■- 1 ■ ■■ 1113 i>: IlflfJv.-dM.:, piiifiis, iiijii
Airier C ms I I i ir prkv ILt ;■ n d irilrirmalinn Tel
iH!^ 24S ri'MIl

Hurt Lu Ilia Li- ir in thf iiillnLl' hiihllH;^ —I hi -

infamal lui tfiikl V . =sl-i i-.- chcL-k nr n--.nr> cirdei
only ta P.O. Bi^'4ifl2 Wichita KS ^727" ih^>?

Lij is fills :'|X SOHO! Signal Ui 1 ill urn v::l Aln-.ili

Muhin*?* —Pmwcr I Ch, IT. I.i 14. In llutw. ^ 7 i 2 2 ba ss
fix. I - v n ii 11 ' iciMi*i;iL Ktfdras City DriLHawnrk^
Drum buikL^ *h\r IWi Td iRIfu I"!-.™. Ask
I mi (.Vsimii ,i.i 1 1 ii lh^:2iu-' uf sund i2 plus S.ASE lu.
1 3SZ7 MdC ice Kunsiis City. S3()64 : iih

I r>n >■ Lend .Solo t'l> "Wmld Lhary ' msIniincnLaJ
Jullm, [ii":i. kJcuiLJijj. Lii Brut uni, \1 jml K-uEche.
Jerry Mamlta. Xtnirs Avail <nily l>y na;i- ('hetk i^i
M. 6 fnr*15 plus S: "i! pAh-VVS add M -Ui
iCiuiada: l U S 1 5 plui S4 pffih.! lo: Lipu Jk-iu kevurdi.
VO Bo\ 4 4 JKU. ViWMkX-k. MY 12^

Hund l.alhed t'usFtnrn Drum Stiiks AUnv h;ir-.l
wcmn^. l’Lssil’ 'L\ S" j . WrlL i.:opy e^isLinj; di'Myi m
^reale tme !< your * pc l- r I >\ jsI i-oji s fr-L.’ him - hiir«-
CMpir £ mtim Urum Micks, it Mr«(

Pl.t ainhnUfc, MA 0.'.! W. lid it l 'i In i Tfiffl,

I.hva- prLcj* <5|1. firiL'l Ljimlily si cl: I pm is fifiiil Trinidi-id
Slid :iK;ij!lp -Mso luiil i. a i rs ^ nil Nsmsn
LmcMtaLionu; ul. i?i^ \ ^-SlV I M 3.

Pork Fie Pur-: us.sion u 1 1 druiw^ miidi. 1 h\ un

American. All repairs -ind reimiiJnnp duat* by Lhc
same Ampriean. ^lhUJ jlikI biass MvaK^. mm avuuJable
iranysi/i 1 Psirk Pic. Ihe piuieshtunii s lIwkv 2 I^ L’
Lope?: .Scmd. ^AsdUnd iEilL. ( A Sim 'Id: fliSj
or In: id kf . ^2-1

■Sorasi I Lidte Kxdirni c. Mj.-I : I S.-J4. hlaok with ^op-

1>d’ lii liv: Al e. ^ 1.5£H I. 11_-| . E S | S ’ z J 7.

Oir Of \ Kind Snare Drum DW pn-roiype Jiailr tor
i'nny i l i > illianis. Jo-may-L' solid Vn- , ;i. LHmblL' row n:
lues. Dili. sLiinifX'd • ■ m in *1 Ii heud-- Anil 11 Never

pkiyed. Ftrl'icI M.MSl | L i l:^IWi™ I M?7

Study materials

fcYe i l liEiiIhpj; i i?«.l ul';i liiiri.il. iii-.ii ul Ihuili 1 .hi il- ciflcr-
iAiittimt lideiis. nisi c^lIus:v:

L I'm diiiirinn. , i^ All A iiifi liLs^rik ■ rnni nm 1 snur\-. !

ivorld lirurti (Vnirr ivm. m im.) Bi.v ^4"

I'urpnn.i LA M I -fith r■ 1 M ■

1 >niTii hi lm L l KiiihiRinn. kond ■ vr taUil'ie !■>’

I.K I'ubliLaliiJhs. ]7£| N.£ J.^rd Sltti&l, Il
L auda ouk, I ]oi id* .LL'.'d. iy, 0<>!>i5fp.^

Anil ‘ 1 1 Turn l.:nir.L' r.f. nmrnendrij h-. l-tii!--.
felWltf! Sn€nn Mmkirn .pfui'miici ( Hhiii|ilt r tf drum
Inning in ^ Ini _ I ii<n. Send ii Sk ven W.ilifi Rn\

4H7SX |nnu5i:i|H.ilis |M Itfp2

Bfisml The Doublh- Hass Driin ay lilen i Meesl-i

iJuilliaid gi.idiUieI iIn'll!'. j.ri. - i slni ii.Lli-. .n ilCrii

piii s I y .spp fn,iv be l m n iiii c dm nhl • •= u:••'• dm i

■■■'liikIv. I.^rn I .Tumi-.-. iruk'pUiidekiC. Ieil-Ii>Ji. Cii^lj-

1 ||'.I0*. I:i (li ii Lii ■' O^'pli R L--, , il and 1 !k ilm :-iliti>i^J.
N l> A Jiv %c p Ls. iL Uni l | in: bienlis. -

,hidlciipc fun' ' i.ulijehts-ihin- w^nli

chilli- F N , k..k, S-'ild Si, 1 ,^5 CiWS-l I J 1 1 L’h1 1 :EfiI l l■ 1 1

Cu.. PO. Hns IHI Palm Hafhm PS. 14 AK1

Pal.vr h\t hm '<-1 iaii 1 1 1 dn■: I ' ■ h :■ Ihm.s nb -{■ r \M

■I insisted. pen'nlYilCLl ,51 |J IM4 Iplm - Vi. Llt -Si 'Jo -
S> I S rNJSIu^i-l Pi < iy;.i: * mnfs i pil I ikL'd In
Miikriidini. P,l Rn - - If- S ■ 'h^n i-i.i: i New Ytuk

Fi^lj-! Uriiim ('harts l-jiIuIin£ and lahirJe! Ks^: .■■:■
Himilird'i EiViiiljflhle 1 U.kI iul'EhI. \jJj ! "iirinn! kl,

Runlum. FiMH Tlrich 1 Ae-n-.'Vil'l, v uml^.fiLk’:’!,

L IlL'-Jli [j'il'. Ml 1 J’lJI I I dill I N ill dll J, .111.51 L IJl i -I

Char;-. InkTnaEiiinaj, PO Bm -IT M I> I: i Kanuei.
NY H'l i 3S44J247 CdWm i" Mi #.-< "M ARTH1

(ruh t ii bt funk^ Eikk l.dihaDi - ('ajileuipcrars
]3rLiiiLSL‘1 f^'hBiqik's.. l'be 1>.m£ jousted I'nLlow up in
Advanced Fn-nk NrudiiSb Lineal mnk lio-hivc-. -hill'
Ik-, ^amhas. tup-Fop. (fcI I'nnk^ a<jw! Bov i kh S:h
ii.deb!- Supplenwntjry nine- .iMiidbk- kr bidi hmks.
N h le-iubi. SI SJ(.M k I .i I burn Publishing £ ■■ .
P.C> Rim b-1lhs. I ms Anaclfl. £'A L J«W '

Free riTLUv^iiMi S'sprvis ruUluj:. I limdreds ul' kirn
mg Hl’h is ‘-Ini iS^ak-.. i-;hns. ■■ \km. imS all ■:• i uni
i:immis l[Mmiii_L p4H'kflgrv I'efrn^nm l ^pri"- I^F
R<>5{ f 7/ £ ttLiL kPin.1 |T l'i ! i 1 fj, Hullam - ■ ■; ’ns:i ^l' l

225-3 m .

( 'ini i^il EJmms. Hay.hg Iwil U lt|U< v ui riiiiL^ns^nJs ;i -
JiiiLiri.-.i I ii.hu i. H;n(son, Kry/iliiLii ilriiut Mfi^mhles
derived : nun eaieaHne iteld ncudics Free entaloc.
send S A S L-_: Murn. Tipfin:-.. PX J, Rm 2frfi7-M, SanU
Cnir. t'A 135(163.

Hrum BtaK Flip-pii'kc .i.u1e m hu u. dmin he-ni ..
Sfi.'t;* ^'e.<1-^jaLe Fpl-sk. S J (J. \iiv> L J01 . Pori I and,
Mu m (M|(M I ML.

(he Rhythm Concept h\ Kelly VV j h is. j.7K-p-tLg:j
.i.pp[o*j.h Eu ccMiientporaiy -drumming Inelud-^ refld
striking*, ^vkit Ji ii.iLi nn. uepcnl^ iniprmsisiiiioii.
a rd si \ lev. Fndofsod hy I jLimilirn, K ir-^s bm n m

koseitnljli. Stipe:-. Moio. Send >22.55 k> Kelly ^-y.llis.
I' iX H.n :il|-L. iak Like ( >i> ! l SJ |'li ?(M J
I umgn Eiixk-rs ^dd S ll lamin nr \\Wiva s vi^eks snr
hk’i; nmil

Miiiii- 4 >v^n(l!iua: Ik ii u-,hin ! ninsii SmiI lILls
ai Drum Spaniiisi 17 4 11 Mjmi r^n, (.■irii^ifvs 1 11
wi(L T > II-: C-iiki CM bi 3 , 7 . i ii, 1 , i “i» i 7 U skxii
R iggCi-iL S Sfletlinnl Vis^Masleresad

anted Slick Aer^m-S nnn birtiLlenn^ mini
dueli.-n i,l ihh- Imi'i-r Ms Ics ii:"ti fl i.|.l .Lnd Wcrkl ML
mktfillltlitc. Scad SIS for a^k Jt cahiscltc lu: Ken L'oX
I'lihlisliiu^. F,<>. ih-ii ^54. Apiui’4 Mils, k A 5 L .Ml I
I'd: (F(i5i52ft-5;^E

FhuiidutwihM by Cufli Y:m Vhaik I In' ntihL iwilhhS

Ik'iisiSr K'jCI II HI Ug iin.iiriy.E'l bt^hl likhh? Indn C j I
^iHdLuinl (tssiwn. VI' auijE nitk |!I^/. :iihl nimn; M

2t>7 t risheniSi. ^ u*abi4*dlit. I'M 7’ : 65, LI 1 Hi
73J£k72^

Drum li-iuiKt'iptbiiW. (IkSlrMfEHHfl^il 4 *nd edHCJlkmak

hunks 4fid \ iclviix- I vcriPnng I 1 l5‘- : ill ! llii 1 LiV.‘i:r
,:»i-.-.e (.Ace CHI iidcs. W Me fiK hue s-Mnl",c. |-i n■ - of
Drumming r i^ : Cal hii mii ■ i' Van Niiv- L"‘A
l M4U5.

3'lti iiElimate kal'inkfix M^Lem' In im.. - ■■■.■ isivr

OserL^s Ny - If ni' i-i 41 \ ii1iL.il t-Jivy ■. khjt-di;i iru'4iLin^
• ;.er J IfiL 1| i(.m g-nn-. in -ibis 5 dll'Hi fill and sold iflCfi

-J . s' lucrHHElc-!i ^vud N '4i lo Enlimu ...

Sysk ?m. I'iJ H-i ■ s Ii.am (3k !:ih:5iii3 -I If

ni- Lit 11 i.iur I'd I S j Pi- f- 7 ,'i II 1 5 1 1 1 1 I t ii c i n I s>i m □ L itin.

Satisfaction guuranlKtr

Practiec III LrnuVi— ii:i ■ I s Lminprrhrifi>i\4! | ir-n. liL M-
pf.-'^u.iT .ill :i ■ \udjn vussrlSL h. n..rikhnok w ilh

ewreiscs rh.n wmrt. Send ^15.^5 jilws 3.95 S/ II I'm

nil' ... or Apiuiiilu pMid^n, Ui'iis U IH 4>lu;r

SireLM. EwtU CM ^5fl@ or M i 7Tl7> 445- JftJfi.

I witl ... Vid-CiJ leydie^ ■■ mi how w> m iri

JlUlllMli. k*. Ilk.- Lbl . pNL'S YVlir ■■ I lllil llsil ! j' Milt
h3«rw 'em away[ Send Si-I m for YHS vidiki m:
Srevec Walker. R. -s ^752 kdiunapulis FM 4lLMiY

m2.

orkinjj. 'l hc Inner (.'lock” \ LonEemptiNiry

mrcTiiL h,.> iJmm-i-i . nr-e hy Plii! M^Lurano. irwlru.
Lutfdnikian ol iMJ. 1j.i\ An pelts }'l;jy iilon-: with I I
Lraiki i is/jeLLCi'Cliarh mdudcu J-ut Forcjco culh it.
':m I'veryday ]?ractice r-tPLitme Fm eniemhle reading

■ h.n I produce mcre-dhle Trim lb " I n I imi-d uml by

■ Itan M-adiTic ' Gel The (_lmrl RcudiriE Hi.irkliw.iA.

iFim L .unprc liens!vc sludy uf caaembk neading: bi
Huhhy i MPne!-' •■■..• I mMnjilEir al I s . I I I jeam basic
L-hTrtrrpi. |o mEcryir-MiiiEnin liI figures R^iL'play niemg
;isv: , r.i‘ -‘Inner (. h-. ► ' N7lf |'I u-- *J N'M I ■: >' bufl
FLeudilie Vv'ii k-'-iHik fl'i! phih. vj 5■11. Buy lN3lh
''Inner e lock .me "Chari Ki^dm^ Whvrkbnok" for
S.i4. Susl: 1 L I J! :.i ufdei. v me in PI il I MaLuraao.
'\m Hollywood Hhd H-bM, HulKwouil. [ A 'MH32S

MO&EFtNDftUMW,^ OaMF*' IW5

Drumining; llir famt imd ltii< Ir^s. EinlertuiJiing
iifiJ pruclkal kLlhJ) i >\ p^nfiti'inphyV rale in ncilivilj,
■ (ispi r=i3iim. nrn.l Cnllh (hnuitgto dramming 115 page*,
iltu>LTjleiJ, Send 112.9:5: MjtLih [fT^dl il-LlL, IUJ-D
Walnut Sinew. PWMawa. PA \ L MbA.

J(1 | ii m m i I;it finite jlflirkiigs with hmkJrtf.

Sunil SK> 10 : SLW. JO 137 Ave-, TramjuJla, fU\V H
CA 90275.

I h nilfl l 1 Hi-Httt Exetcist Yitr The Cunleiiipunir L \
Drummer toy Child Wikienm A pr-adKal jndJuxl
dial dcnHup* ibe nw uf sunventbriid and remote hi-
luch tlirou^lK Etfi.'hn it ii I LirtJ irhmKiti CKCrdses I nr ihe
h :incK jffui ffta. ReeuflttiKtlded fnr drummer*. nl ult
vkill levels. Bn uk Hind .r.idiu i_-iti.se tU;: ME plus S3
SAM, CaJirVimUl reildcub add 7.25'{ >aks las.
DKlritHlted esdusivel> toy lira in Workshop. Ihc 101
Rermmlli Cifek, £.>k rmuJ. CA 9S03G. I ur Visa and
MBbltfKwd finleis mM l-SOtHH-MOl.

Twirl-rVSikk iimstfilng dnmnMick IwullUg ntigv
Twirl iike il n: pi i in. h4i;v£i \ vw anoilier Mitk. St-HJ ^5
iru David A^itiiLh, V fl Hli=sc 321 L Safi Dinniv CA
9JT73,

H* A Beutr Drummer] liflpj'Ac vnur tori* drUhl

playing WLlh gnsiler ^Jewl. iTllllinifirv, 34rill limiia^
Tbh ri: V li]uI i titl41^> pfCdlK'l sasily allPthcs [u ynpr

csisriujr KiJih drum pedii! uiih nu drilling Said 525

money older ft/ ih^Lx in: Kiefe-Rink*,*, P.(>. fort 512,
MiXhe, WV Him I. Tel: fWl 7^ l4hfo

UnMivuiillu Drum Minliod ii reojmwi:nds3J by Mum
Fnrmilnru lltuI MiNdern Drummer I minis live format
uses M transparent overlays in trattsfanti i hook inK*
1 J! Kn^k, alternative, jrfinM DuUifi- double basi. mul
inueEi iiiare! Includes Wkminule tnssette, S19.V5 pluv
SI Rhyshm Method Huhlicrtiuiix. P.O. Ikn

ml BufDb. NY 14225-^2,

Fivv-Pwcfl dimnbeL, biKik.Hi'taiWfi, iirwl fre-e in forma¬
tion. WTLtd: Bill \3oreliimJ 22-13 tffighEulL. KJUttir*
Cily. NfitttiUri f>4l27.

Poll rhvthaii —from the jtfoUfid up’! Ns 1 ** l«hAri}U*t
tor modem miiMc 1 Ability to rend ifiLl'.ir *1(4 neceM-
•-ary. kcara the hu^k - :-. pin 1 ’.^iqogs^ for ihasrvrffig
7:3. L }\4 t 13:6. and other fom pi iemed r^lahoi>,
Bc^Lnjiej throo^Ji udvano*;d. Send rhcck ur

liuintv-ordei to U Kjpri^w-sk i, l J ,0 WuK J077L
Rttlfofri. Ml 4*240-0771.

Ifislrudian

NYt Drumratfi: litudy John humrc^. oik (if
lht nu>M knowledgeable in |hc NY urea-
Aoicpling only life «c!riini^-fiiiiidt>d fnrdruu inJrao-
tRin (he ^r^sEAtnL W#y Manluniar. and Staten
IblumJ sludiQ ImriCidAN. i*7L K I ^M43l.

\S C‘—Tai.lila Sillily Irii li:In lIii-ml'^lI dflllfillllliy wiLk
jWif o itIMt/w#.- kcr M'usUq Vla^J. Special Uuin]ni> for
mu^kiariK i f j;i /t. EaNSAVcil; fiasinn interested in
... Tel .£211(724-7223.

PRO

Fuji' *fll y Jrt bra’ ds

r.*j| O^m^rec-- "Vi Fr^f i

I '■ DM KiCtonr B^a. LjiI *Madwon r hi 37! I*

%■■•. F:hR * FA. I ! i-s aes fti- 7 -

COll US TOU FR« TO SUBSCRIBE TO

MODERN DRUMM€R
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use VOUR WIRSTiRCRRD Ofl VISft

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'.hnr \ i ia evFryer* ^.ha iJtnipfi’ liv £*,t bv6\ K
II ^1.1 4 l;dii ' 1 pql u i ,'iu hs H> |[f 1 c wj- ■_■! 4 jl lha il *jvr -j>

VI.. ■ n-GrJd 1 ■ r' *J-HlW - il^ C uL .:>.

|||« IW il'JrvmihHk; rv.l h a p*l ntai'rilil I*f.Kji ihJ y ft.

Sd Uh'Oif lh*/rf

JiJ pi f-K "■ J * • - i l.'hB jlKIVhk CH 1 ll^HT n^Hi’l'l

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Drummer?; Leara nil fclyks of dramminp on all the
peroidon iiiMramenK. diumsei atld mal-

Ick John Berk Ferniwfoa Studio

ProOKsiiniiit Music Sludio^—nruiTi -let. Laiin per-
tUrafcm, nulleh and litfipsiffl, Qei. live pliiym^ eJipcft-
ente in jfl£? en^euibltf-: *nd pefcusMion winemhlen.
ETkiiw or group esdlege prep a specialty Tel
(20If 677 Pa^iaii: Af#e.. Nutley, New

Je^ey.

Tlie world's hmvd drum leaum vwwrre nwws)
hy niafl, Available far the First iLme by rcino^'ned cd\s-
^tiKr-perfofnM? Jeff Indykc— PishA-FSeat, ifllfio 2H«-
URl.kl elm iiLMruckLon over die pfiinne, 22 EiLpcH avaik
4 ihle. ineliklln^ Pearl. Kayjio, Itnnham, Van Halcn,
Phillip*. -Guild, Aldridge, Pa Inner, Moon, K kb.
Willlirm, MePniii. Bellson. Ulrich. Morelia, Wecfcl,
Colli pc. E.ce, BrtsonsUfl, vol.jiiLg, improvisation,
hraliwtonning,, umi Icekn-quc. 514 per iape Specify
ooncspcll Jeff liidyfcc, P.O. Bok 5ti3, Plainview. N'Y
I Ini 13 , Fnr pnvnie Icmou. 9, tel: (51612*19-37ER.

John \L'puk-JkN \h accepting sertnus sLuLknl.s. Sledy
ft iih ihc authof of Lnaaua With The tireata ^rtd
Studies Knr 1 Tic Coulrmpmur Urammcr. Dcvdnp all
oF the ikids liuetied lor today's drumming, lit the S.F.
Bay Aren eull fSUH W7-ZDM.

In L.<A.: Kick Sled—author, clinician, bost/priMkiter
of □runi.St6. A^:cpting students. Tel: f3l0> 392-
740y.

MODERN DRUMMER

The only magazine you'll need in the
'90s to convey your important mes¬
sage to the serious drummers
of the world.

Call: (201) 239-414C

For display ads ask /or Bob.

For classifieds ask for Patricia
They'll gladly supply all the details.

EVER WONDERED

Why You
Can't Tune
Your Drums
T o Sound Like

for infornTatiQn-Woody Compton
1323 Sharon KlkuJ. ralkihass-eo, HL .32303
U S A. Phimr or Fax: W-lltt-23BS

NOTHING SOUNDS LIKE A BRAD V

RifckM pilfer^; Lknu nf drumming

ES.Vt Bvr k I- 1 ls Culler m Musk. Tow sun 5 l m ll*
Urtrvsrsii^ inhiruetw All rtjrlfr -and kvclt. Tel, [41Oi
74?^STFX

Bin Apple drarraveni: Art En^oroa lusts to mid\

reading, Hills, ruffv FudsilntMir*. mtJ ivA«iiflp 4 ied ■*!

drumming. Thppough Uudtj- nf classic texts by iwd,
Rkh. Su>nt, Merrill Chupin, Appke, sic. Uppsr
Weti siik stuiJkv FSph l-vmw free! T-uJ: (212) K74-
4109.

Hew Jersey SpmJy -wlili Kuss Uiu, ir ih^ mn&
kiK^kdjioaJvie pmh in Uw husinov. =m 1964. Tel:
iflOBl 355-0366,

riiil;ddi L|hiii j: Major league cuntcptH, tebniqiies;.

.Epplitiiilumh. Muln Jkikllkid. (ftl\I|

Philadelphia: dm msec cnnEitv timbale*, etc All
styles, dll L-v l i N. Clr&ar rcfertn Ls, David Kku>kcr+
(2151732-mW.

Dallas area drum lessons. LW'.T. praduiHc; experi¬
enced pHtfissiixiai. Steve Etm^mnii, (2141 3S7-4(KK).

VMM

SYunEed 1 h 7[fc Lrtdujp dri.m w/26" kiss, a ho nnv
nejpc Vistalites, suintess steel. psychedelic nil, mnd-
ucm^u, citrus-mod wl^rwiFesi. Tel: r4ltb 26P-42KS.

Vini her th-nrns— Immediate cash for Ludwig,
Slirt^rbiild. fjidtsris, K ZiMjiLUks and mure Muck's.

sr i i , wTIhHwih! Id: [5tJ | AV^- 361.1 or l'-hII Cull frw
HprnMur fur SIM lumber, Fax; l5l?l fiTO-MOl.

SI Make Muatj- £5. tuadunji drum lessons" Lol:
(ftOOi RJfl-5556 {rwtwikd mesuagc l

Immediate cadi vmia^s & tym'huh,

ViataKe Drum Shop of NYC, 157 Vi, Mill Ssrcsu
NT. NY I non, let: (212] 989-TOO,

The Starting Muriefafl eflsli Tim ussd
Mhiueis, tymbitls, and luudwnni Phone: (4tHli 554-
*M1, hLS l 4 Q@-j 5S4-WS. ■ ivrjir ^17 FI Omiiiw
Real. Santa Clara. CA WU5 I

CASH I nr drum*. Jiink/TaiwiLw**s/p4rts Will
huntfrids. Tc-r (7Dfl 1JfljMJnGG,

A ns (ketichn l-mkiiji,. I .fed). k /lldjlau^, ptr,
( :t>h or trmlr. Rluir 'M Drunn: KiiiSI V4-lhdl4. nr
rail Lull free operator for WKJ nuraher. Fax irtlM

£'. I Tanu promo bpe^trs, Nci3 Pearl '.nn Ml- will)

red drums. Tel: {203) 3B4-2M4,.

l amia Superstar NxU'J tsr Sic 13 lorn riaftiraL Tnajile.
Lai! Du u- 16121 552-122*.

V'amahrt ck-WOnk drum piicU Bid cuftfidgeft for
PTX» unit, Lnc Id-1: 171*) W-l 3-5U,

Miscellaneous

Mittacsintx Niitinoul Refiwl: Pr^fc^iumil trtSkiiiK
becking luuids bantU seeking pmkssjjny' niuvl-
diinv. L-Eytn( 3 t regktei' I'nM' LnII nuu fi-r ii^TCinariori,
3*64447

% in lake drum u-stiirmlons v'niiii^j Drum
Slwp of NYC, 157 W :4ih NY. NY 1001L
Tel: [21 iww^trn

Hit Llfum pmr'osMLMml drum <uriqttiizifig K nouusii
cid^decIfiCid rcfKiiiv. Td: {708-1S34-112f.

SllH^ran lli^h profile drummed wi

c'OiLm-^l-- Siiiij-iay PeojfcjHMOJfc drums I _ufgcr^L up nod
^imiiL.i Iiiahufiteftiier in US. Send ^implote pftwnn-
ikin jucImsc Slinpray Pempsinn. I22S R 53rd Sh.
We« Palw Beach. I-L .11407.

Drum ToeEi jvu liable. PrnreKsiniiJiL Uepend.-ibk-
'■ll^jishem’’ nininp. Canadian ba'ied .Sreva. iel: i7(10)
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Experience jhe "Chgpm Magic"
a 1 ; Jim king's and plays six of
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plays seven unaccompanied
drum solos and teds five stories
- /rHe only he can.

Available at ybur
Favorite Music Store

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S m HQ Pt'tW.liion P/o.-Ju: h

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9 Mill view Plat#, lltndord. N,Y. 10523

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Naw *nd Uawd _

(6!5) 383-B343

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I7P7 1JIK AVENUE SOUTH " NASHVILLE, TN Xf»4

Complete information
on where and when
your favorite
artists and
clinicians are
performing.

Information
updated every
two weeks.

Call 24 hours
a day, seven
days a week.

Modern Drummer’s Clinic Calendar—your connection to your favorite artists.

ADVERTISERS INDEX

ADVERTISER

PAGE NUMBER

Gibraltar/Kaman Music Corp.

50

Paiste

35,95,97,99

Afro Percussion

27

Guitar Center Drum-Off

130

Parziale Corp.

143

Aquarian Accessories

114

GK Music

107

Pearl Corporation

28/29

Atlanta Drums & Percussion

143

GMS Drums

111

Peavey Dmms

53

Atlanta Pro Percussion

133

Gon Bops

125

Percussive Arts Society

135

Ayotte Drums Only Inc.

37

Gretsch

Inside Back Cover

Precision Drum Co.

150

Beato Bags

106

HQ Percussion Products

56,149,150

Premier

5

BMG Music Service

32/33

House Ear Institute

132

Pro-Mark

52,98,108

The Bohning Co.

56

Humes & Berg

15

Pro Percussion

149

Brady Drums

149

Impact Industries

101

PureCussion

131

Buddy Rich Memorial Scholarship GMicert 54

Interstate Musician Supply

55

Regal Tip

48

Camber Cymbals

83

Joe Morello

150

Remo

47,49,51

Cannon Percussion

55,81,127

John Bock Percussion Studio

150

Rhythm Tech

141

Concept One Percussion

52

K&K Sound Systems

106

Roc-N-Soc

125

DC Mini Mic Systems

149

KAT

57,105

Sabian

16/17,18/19

ddrum/ Armadillo Enterprises

116

Latin Percussion

46

Sam Ash

114

Diamond Tip Drumsticks/Jopo Music 112

Legend/Kaman Music Corp.

145

Simmons Services

108

Disc Makers

143

Long Island Drum Center

87

Sunlite Industrial Corp.

87

Discount Distributors

143

Ludwig

Inside Front Cover

Super Gloss/Sam Barnard

143

Drum Center of Lexington

150

Mapex

74

Tama

12/13,96,123

The Drum Pad

150

Master Beat Inc.

149

Thoroughbred Music

127

Drum Workshop

44/45,117,124

MD Buyers Guide

94

Toca/Kaman Music Corp.

80

Drum World

150

MD Drum Instructor Directory

84/85

UDU Drums

143

Drummers Collective

141

MD Library

68/69

UFIP Cymbals

36

Drums In The Wind

134

MD Subscription

115

Vater Percussion

100,150

Drums On Sale

143

Meinl Cymbals/Percussion

7,76

Vintage Dmm Shop of NYC

103

DrumST6

141

Midwest Percussion

125

Waddell's Cymbal Warehouse

55

Drumtech

112

The Music Stand Catalog

87

West L.A. Music

108

Easton

83,133

Musicians Institute

121

XL Specialty Percussion Products

81

Evans Products

1

Noble & Cooley

107

Yamaha

137,139

Fibes Drum Co.

101

Not So Modem Drummer

56

Zildjian 8/9,21,89,93 Outside Back Cover

Vic Firth, Inc.

22,75,77,79

Note Service Music

78

Fork's Drum Closet

150

P.J.L. Percussion

23

MODERN DRUMMER OCTOBER 199$

Z>rutJik it Of c he M on th

PHOTO REQUIREMENTS

1. Photos must be high-quality and in color. 35mm slides are pre¬
ferred; color prints will be considered; Polaroids not accepted. 2.
You may send more than one view of the kit. 3. Only show drums,
no people. 4. Shoot drums against a neutral background. Avoid

"busy" backgrounds. S. Clearly highlight special attributes of your
kit. Send photo(s)to: DrumkitOfThe Month, Modem Drummer, 12
Old Bridge Road, Cedar Grove, NJ 07009-1288. Photos cannot
be returned.

J erry Price's unique kit is a classic exam¬
ple of the creative use of materials at
hand. Jerry is a quality control manager
for a plastic pail manufacturer in
Montgomery, Alabama. He created his
"drums" using 5-gallon, 20-liter, 6-gallon,
6 1/2-gallon, and 7-gallon pails. Lids from
5-gallon pails are used as cymbals. A 9"-
diameter piece of 1/4" rubber is glued to
each pail and lid for a playing surface.
Attached to each surface is a trigger that
Jerry made from piezo elements purchased
at Radio Shack. The entire set is run
through an Alesis D4.

Next Month

CRIMSON DOUBLE DRUMMERS

BRUFORD & MASTELOTTO

THE TRACTORS'

[AND CLAPTON VETERAN]

JAMIE OLDAKER
MIKE SHAPIRO

WITH KEVYN LETTAU
MORPHINE'S

BILLY CONWAY
AND NEIL PEART

ON STARTING OVER

MODERN DRUMMER OCTOBER 1995

HARVEY MASON —
heard everywhere with
(irelvdi drum* because
Harvey Mason is everywhere
motion pictures T\" shows,
CDs, radio, FV jingles, and
live with Four PLiy,

WE AT GRETSCH ASKED
HARVEY MASON FOR
ONE SPECIAL AD-QUOTE
ON GHETSCH DRUMS -
HE QUICKLY GAVE
US FIVE!

Without question , Qretsch is the best*”

p “My very first set of drums

*• were by Qretsch — J never changed

My talent and Qretsch drums make
the greatest sound* ”

t “Fans say my sound is best — and know
0 Qretsefi is there* M

Qretsch (futility is right for my style —
the only one to meet my standards —
a long-time tradition,”

TAKE HARVEY MASON'S WORD FOR 0. * - SEE YOUR GRETSCH DRUM DEALER TODAY
FOR FULL INFORMATION ON CHOICES, CUSTOMIZING. PRICES.

THE WORLD’S FINEST DRUMS ARE MADE IN THE U.S.A.

Proud to be the only family owned ” drum business in the world.
SAVANNAH, GA. 31402 * P O. Box 2468

CUSTOM *

Visit your

Don’t Worry, Guys.

|MF We’ll Make

^ fS 0k MORE.

Adam Nussbaum. Cindy Blackman. Peter Erskine, Steve Smith. Gregg Bissonette, Alan White, Stephen Perkins, Kenwood Dennard

Introducing the New K Custom Dark Crashes, Rides & HiHats.

Now Zildjian offers a complete line of special cymbals born from the legendary
K Zildjian range, that offer traditional K Zildjian sounds for a modern musical

environment. Cast from the legendary secret Zildjian alloy, no two sound the
same. Each has its own unique voice and character so you can create
your own signature sound. As you can see, they’re in hot demand by
some of the world’s greatest drummers. But don’t worry, you’ll
be able to get your very own. There’s plenty to choose from
at your local Zildjian dealer.

Ttie Only Serious Choice.